compilation of survey data - International Federation of Actors

Transcription

FIA WORLD LIVE PERFORMANCE CONFERENCE
COMPILATION OF SURVEY DATA : THE LIVE PERFORMANCE SECTOR FROM A GLOBAL PERSPECTIVE Dublin, 2015 #
Country
Organisation
Name of the person completing the survey
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
Argentina
Australia
Austria
Azerbaijan
Belarus
Belgium
Brazil
Brazil
Brazil
Cameroon
Canada
Canada
Chile
Colombia
Czech Republic
Denmark
Denmark
Ecuador
Estonia
Finland
France
Georgia
Germany
Greece
Hungary
Ireland
Japan
Latvia
Kyrgyzstan
Kazakhstan
Madagascar
Moldova
Morocco
Nepal
Netherlands
New Zealand
Norway
Norway
Panama
Paraguay
Peru
Poland
Portugal
Romania
Russia
Slovenia
South Africa
Sweden
Switzerland
Switzerland
Turkey
Turkey
Ukraine
United Kingdom
United States of America
Uruguay
AAA
MEAA
GdG-KMSfB
CWU
BSAG
ACOD Cultuur
SATED/ES
SATED/MG
SATED/RJ
SCAS
ACTRA
CAEA
SIDARTE
CICA
Herecká Asociace
DAF
DSF
FENARPE
ENLIIT
Finnish Actors Union
SFA
ICSTEU
GDBA
SEI
SDS
SIPTU/IE
JAU
LKDAF
CWU
CWU
AATM
SICRM
SMPT
FAAN
FNV-KIEM
Equity NZ
NSF
NoDa
UNAP
CEPATE
SAIP
ZZAP
STE
FAIR-MediaSind
RCWU
GLOSA
SAGA
TF
SBKV
SSRS
AUT
CASOD
CWUU
Equity
AEA
SUA
Luis Ali
Chris Vernon & Camila Ah Kin
Sabine Herold
Zaur Mursal oglu Hamidov
Sviatlana Sukhavei
Laurette Muylaert
Maria Veronica Do Nascimiento Gomes
Maria Magdalena Rodrigues
Livia Parente
Njoh MBoule Ludovic
Ferne Downey
Arden R Ryshpan
Andrea Gutiérrez
Maria Eugenia Penagos
Jiri Hanak
Neel Lykkegaard Andersen/Dorthe Vincentzen/Thomas Gisselmann Søemod
Katha Elgaard Holm
Pablo Vinicio Ochoa Cabrera
Gert Raudsep
Elina Mäntylä
Denys Fouqueray & Jimmy Shuman
Tsiala Japaridze
Jörg Löwer
Nikos Hatzopoulos
Katalin Ráksi
Karan O’Loughlin
Kaori Nakayama
Chairman
Anarhan Kydyrbaeva
Svetlana Imankulova
Mbato Ravaoson
Nicolae Constantin Garaz
Tahar Elqour
Nabaraj Khadka
Caspar de Kiefte
Alistair Browning
Hauk Heyerdahl
General Secretary
Danitza Cervantes
Carmen Briano
Martin Abrisqueta
Julian Mere
Joao Vidigal
Leonard Octavian Paduret
Gennady Paroshin & Vladimir Kamen
Marko Simsic
Carlynn De Waal Smit
Anna Carlson & Julia Reynard
Elisabeth Graf
Anne Papilloud
Gizem Arli
Director of International Relations
Liudmyla Perelygina & Vladimir Kamen
Max Beckmann
Flora Stamatiades
Lila Garcia & Sergio Mautone
2 Respondents on a map:
3 UNION AND COUNTRY PROFILE
1. General information about your union/organization:
Country
Name of the organisation
Name of the person/s completing the questionnaire
Organisation’s current membership
ARGENTINA
AAA
Luís Alí - Secretario General
2.500
Country
AUSTRALIA
MEAA
Chris Vernon & Camila Ah Kin
16,012 (total MEAA). 5,652 (Equity only)
Country
AUSTRIA
GdG-KMSfB
Sabine Herold
No information given
Country
AZERBAIJAN
Cultural Workers‘ Union
Country
BELARUS
Belarussian Screen Actors‘ Guild – BSAG
Country
BELGIUM
ACOD Cultuur
Laurette Muylaert
360
Country
BRAZIL
SATED/ES
Maria Veronica Do Nascimiento Gomes
1.800
Country
BRAZIL
SATED/MG
Maria Magdalena Rodrigues da Silva
10.000
Country
BRAZIL
SATED/RJ
Livia Parente
3192 - 2457 no pagantes y 735 pagantes
Country
CAMEROON
SCAS
Njoh MBoule Ludovic
300
Country
CANADA
CAEA
Arden R. Ryshpan
6.000
Country
CANADA
ACTRA
Ferne Downey
23.000
Country
CHILE
SIDARTE
Andrea Gutiérrez Presidenta
1.832
Zaur Mursal oglu Hamidov
54,605 (of whom 7 to 8 % are performers in the FIA categories)
Sviatlana Sukhavei
206 (as at August 1, 2014)
4 Country
COLOMBIA
Circulo Colombiano de Artistas
Maria Eugenia Penangos – President
289
Country
CZECH REPUBLIC
Herecká Asociace
Jiri Hanak
Country
DENMARK
Danish Artist Union (DAF)
Neel Lykkegaard Andersen/Dorthe Vincentzen/Thomas Gisselmann
Søemod App. 1.300 (mainly singers/featured artists but also app. 200 circus and
variety artists, dancers and other performers)
Country
DENMARK
Danish Actors Association / Dansk Skuespillerforbund - DSF
Katja Elgaard Holm – President 2.200 members
Country
ECUADOR
FENARPE
Pablo Vinicio Ochoa Cabrera
3200
Country
ESTONIA
Eesti Näitlejate Liit (Estonian Actors Union)
Gert Raudsep – Chairman
Country
FINLAND
Finnish Actors Union
Elina Mäntylä – General secretary
Total 1800 (incl. Swedish speaking, students and pensioners)
Country
FRANCE
Syndicat Français des Artistes Interprètes – SFA
Denys Fouqueray & Jimmy Shuman – Délégués généraux
More than 2000
Country
GEORGIA
Independent Trade Union of Workers in Culture, Sports and Tourism
Tsiala Japaridze – President
235 (FIA trades and professions only)
Country
GERMANY
Genossenschaft Deutscher Bühnen-Angehöriger – GDBA
Jörg Löwer – President
3.300 members
Country
GREECE
SEI (Hellenic Actors’ Union – HAU)
Nikos Hatzopoulos – General Secretary
Full member of FIA
Country
HUNGARY
Színházi Dolgozók Szakszervezete - SDS
Katalin Ráksi – General Secretary
2.300
Country
IRELAND
SIPTU / Irish Equity
Karan O’Loughlin – Sector Organiser for Arts & Culture
587 members
5 Country
JAPAN
Japan Actors Union
Kaori Nakayama
2600 members
Country
KAZAKHSTAN
Culture, Sports and Media Workers’ Union
Svetlana Imankulova
38.000 (throughout the broader cultural sector)
Country
KYRGYZSTAN
Cultural Workers’ Union
Anarhan Kydyrbaeva
26,000 (throughout the broader cultural sector)
Country
LATVIA
LKDAF
Chairman
1934
Country
MADAGASCAR
AATM
Mbato Ravaloson
76
Country
MOLDOVA
Sindicatul lucrătorilor din cultură al Republicii Moldova
Nicolae Constantin Garaz
620 (FIA jurisdiction only; total membership [all trades and professions] –
14,489, incl. 13,620 working members)
Country
MOROCCO
Syndicat Marocain des Professionnels du Théâtre - SMPT
Tahar El Qour
Country
NEPAL
Film Artistes Association of Nepal - FAAN
Navaraj Khadka - Chairperson
500
Country
NETHERLANDS
FNV KIEM
Caspar de Kiefte
in total 31.000 (app 900 actors and 350 dancers)
Country
NEW ZEALAND
Equity NZ
Alistair Browning
760
Country
NORWAY
Norsk Skuespillerforbund NSF
Hauk Heyerdahl - President
1250
Country
NORWAY
Norske Dansekunstnere - NoDa
General Secretary
Country
PANAMA
UNAP
Danitza Cervantes
100
6 Country
PARAGUAY
CEPATE
Carmen Briano
270
Country
PERU
Comunidad Artística Nacional SAIP
Martin Abrisqueta – General Secretary
220 Approx.
Country
POLAND
ZZAP
Julian Mere – Chairman
Information not given
Country
PORTUGAL
STE
João Vidigal - President
200 full members
Country
ROMANIA
FAIR-MediaSind
Leonard-Octavian Paduret
10.000
Country
RUSSIA
Russian Cultural Workers’ Union (RCWU)
Gennady Paroshin, President RCWU & Vladimir Kamen, General
Secretary, CCWU-CEECA
441,000 (throughout the broader cultural sector), of which 50,000 in the
trade represented internationally by FIA
Country
SLOVENIA
GLOSA
Marko Simcic – President of Conference of Performers
170
Country
SOUTH AFRICA
SAGA
Carlynn De Waal Smit – Secretary
310+ members
Country
SWEDEN
TF
Anna Carlson – President
3500
Country
SWIZERLAND
Schweizerischer Bühnenkünstlerverband - SBKV
Elisabeth Graf
About 1250
Country
SWIZERLAND
Syndicat Suisse Romand du Spectacle SSRS
Anne Papilloud
About 400
Country
TURKEY
AUT
Gizem Arli
1150
Country
TURKEY
CASOD
Director of International Relations
7 Country
Ukraine
CWUU
Liudmyla Perelygina, President, CWUU; Vladimir Kamen, General
Secretary, CCCWU-CEECA
225,000 (throughout the broader cultural sector), of which 13,000 in the
trades represented internationally by FIA
Country
UK
Equity
Max Beckmann
38,452 members in benefit as 30.06.14
Country
USA
Actors’ Equity Association
Flora Stamatiades, National Director, Organizing & Special projects
49,933 as of August 1, 2014
Country
Uruguay
Sociedad Uruguaya de Actores – SUA
Lila Garcia & Sergio Mautone
700 afiliados cotizantes y 800 exonerados de aportacion
2. Does your union/organization represent:
Argentina: AAA
Yes
X
X
X
Actors in the live performance sector
Actors in the audiovisual sector
Dancers
Choreographers
Circus performers
Variety performers
Opera singers – soloists
Opera singers – choirs
No
X
X
X
X
X
Australia: MEAA
Yes
X
X
X
Dancers
Choreographers
Circus performers
Variety performers
No
X
X
X
X
X
Other: In addition to performers, other sections of the MEAA represent crew, symphony orchestra and contemporary musicians and those working in the
media and associated professions
Austria: GdG-KMSfB
Dancers
Choreographers
Circus performers
Variety performers
Yes
X
X
X
X
X
X
X
X
No
Yes
X
X
X
X
X
No
Azerbaijan: CWU
Dancers
Choreographers
Circus performers
Variety performers
X
X
Belarus: BSAG
Yes
X
X
Dancers
Choreographers
Circus performers
Variety performers
No
X
X
X
X
X
X
9 Belgium: ACOD Cultuur
Yes
X
X
X
X
X
Dancers
Choreographers
Circus performers
Variety performers
No
X
X
X
Brazil: SATED/ES
Dancers
Choreographers
Circus performers
Variety performers
Other
Yes
X
X
X
X
X
X
X
X
X
No
Yes
X
X
X
X
X
X
X
X
X
No
Yes
X
X
No
Other: Modelos y técnicos en espectáculos de diversión
Brazil: SATED/MG
Dancers
Choreographers
Circus performers
Variety performers
Other
Other: Models, Stage designers, Sound engineers, Light engineers, Technicians, etc.
Brazil: SATED/RJ
Dancers
Choreographers
Circus performers
Variety performers
Other
X
X
X
X
X
X
X
Other: Técnicos en espectáculos
Cameroon: SCAS
Yes
X
X
X
Dancers
Choreographers
Circus performers
Variety performers
Other
X
X
X
X
X
X
Other: Humoristes, techniciens du spectacle
No
10 Canada: CAEA
Yes
X
Dancers
Choreographers
Circus performers
Variety performers
Other
No
X
X
X
X
X
X
X
X
Other: Stage managers, fight directors, directors
Canada: ACTRA
Yes
Dancers
Choreographers
Circus performers
Variety performers
No
X
X
X
X
X
X
X
X
Chile: SIDARTE
Yes
X
X
Dancers
Choreographers
Circus performers
Variety performers
No
X
X
X
X
X
X
Colombia: CiCA
Yes
X
X
X
Dancers
Choreographers
Circus performers
Variety performers
No
X
X
X
X
X
Other: Plastic artists, men/women of letters, directors
Czech Republic: HA
Yes
X
X
X
Dancers
Choreographers
Circus performers
Variety performers
No
X
X
X
X
X
11 Denmark: DAF
Yes
Dancers
Choreographers
Circus performers
Variety performers
Other
No
X
X
X
X
X
X
X
X
X
Other: Singers and featured artists, magicians
Denmark: DSF
Yes
X
X
X
X
Dancers
Choreographers
Circus performers
Variety performers
No
X
X
X
X
Ecuador: FENARPE
Dancers
Choreographers
Circus performers
Variety performers
Yes
X
X
X
X
X
X
X
X
No
Yes
X
X
No
Estonia: ENLIIT
Dancers
Choreographers
Circus performers
Variety performers
X
X
X
X
X
X
Finland: FNL
Yes
X
X
Dancers
Choreographers
Circus performers
Variety performers
No
X
X
X
X
X
X
France: SFA
Yes
X
X
X
Dancers
Choreographers
Circus performers
Variety performers
Other
No
X
X
X
X
X
X
12 Other: Marionnettistes, artistes visuels... tous les artistes interprètes à l'exception des musiciens instrumentistes / M Puppeteer, visual artists … every
performers except musicians.
Georgia: ICSTEU
Yes
X
Dancers
Choreographers
Circus performers
Variety performers
No
X
X
X
X
Germany: GDBA
Yes
X
Dancers
Choreographers
Circus performers
Variety performers
Other
No
X
X
X
X
X
X
X
X
Other: Dramatic advisors, Directors, Set-designers, Costume-designers, Stage managers, Theatre educators, Make-up artists, Artistic-technical staff,
Press/Marketing/Personnel-staff on artistic contracts.
Greece: SEI
Yes
X
X
Dancers
Choreographers
Circus performers
Variety performers
No
X
X
X
X
X
X
Hungary: SDS
Yes
X
X
X
Dancers
Choreographers
Circus performers
Variety performers
Other
No
X
X
X
X
X
X
Other: technicians, administrative workers
Ireland: SIPTU / IE
Yes
X
X
Dancers
Choreographers
Circus performers
Variety performers
No
X
X
X
X
X
X
13 Japan: JAU
Yes
X
X
Dancers
Choreographers
Circus performers
Variety performers
No
X
X
X
X
X
X
Kazakhstan: CWU
Dancers
Choreographers
Circus performers
Variety performers
Yes
X
X
X
X
X
X
X
X
No
Yes
X
X
X
X
X
X
X
X
No
Yes
X
X
X
X
X
No
Other: Musicians
Kyrgyzstan: CWU
Dancers
Choreographers
Circus performers
Variety performers
Other: Puppeteers
Latvia: LKDAF
Dancers
Choreographers
Circus performers
Variety performers
Other
X
X
X
X
Other: Musicians, librarians, museum personal, teachers of the art & music schools, employees in "Latvijas Radio"
Madagascar: AATM
Yes
Dancers
Choreographers
Circus performers
Variety performers
Other
X
X
X
X
Other: Orateurs
14 No
Moldova: SICRM
Yes
X
X
X
X
X
Dancers
Choreographers
Circus performers
Variety performers
Other
No
X
X
X
Other: Puppeteers
Morocco: SMPT
Yes
X
X
X
X
X
X
Dancers
Choreographers
Circus performers
Variety performers
Opera singers - choirs
No
X
X
Nepal: FAAN
Yes
X
X
Dancers
Choreographers
Circus performers
Variety performers
No
X
X
X
X
X
X
Netherlands: FNV KIEM
Yes
X
X
X
X
Dancers
Choreographers
Circus performers
Variety performers
Other
No
X
X
X
X
X
Other: Musicians (pop, classical), artists, designers, art teachers, theatre technicians/organisation, film crew, photographers. And also people working in the
audiovisual, printing and packaging industry.
New Zealand: Equity NZ
Yes
X
X
X
X
X
X
X
X
X
Dancers
Choreographers
Circus performers
Variety performers
Other
Other: improvisers, comedians, narrators, and presenters
15 No
Norway: NSF
Yes
X
X
Dancers
Choreographers
Circus performers
Variety performers
No
X
X
X
X
X
X
Norway: NoDa
Yes
Dancers
Choreographers
Circus performers
Variety performers
Other
No
X
X
X
X
X
X
X
X
X
Other: Dance teachers
Panama: UNAP
Yes
Dancers
Choreographers
Circus performers
Variety performers
No
X
X
X
X
X
X
X
X
Paraguay: CEPATE
Yes
X
X
Dancers
Choreographers
Circus performers
Variety performers
Other
No
X
X
X
X
X
X
X
Other: play righters, directors, technicians
Peru: SAIP
Yes
X
X
X
X
Dancers
Choreographers
Circus performers
Variety performers
Other
No
X
X
X
X
X
Other: Singers of all types, directors of different types, technicians that contribute to artistic work (management assistants, scriptwriter, costume designer,
make-up artist, cameramen, sound engineers, light engineer), etc.
16 Poland: ZZAP
Yes
X
Dancers
Choreographers
Circus performers
Variety performers
No
X
X
X
X
X
X
X
Portugal: STE
Yes
X
X
X
X
X
X
Dancers
Choreographers
Circus performers
Variety performers
Other
No
X
X
X
Other: Technicians; Administrative staff; Musicians
Romania: FAIR-MediaSind
Yes
X
X
X
X
Dancers
Choreographers
Circus performers
Variety performers
Other
No
X
X
X
X
Other: musicians, journalists, technicians, costume designers, administrative staff
Russia: RCWU
Dancers
Choreographers
Circus performers
Variety performers
Other
Yes
X
X
X
X
X
X
X
X
X
No
Yes
X
X
X
X
X
X
X
X
X
No
Other: puppeteers
Slovenia: GLOSA
Dancers
Choreographers
Circus performers
Variety performers
Other
Other: stage directors, dramaturges
17 South Africa: SAGA
Yes
X
X
X
Dancers
Choreographers
Circus performers
Variety performers
Other
No
X
X
X
X
X
X
Sweden: TF
Yes
X
X
X
X
X
X
X
Dancers
Choreographers
Circus performers
Variety performers
No
X
Switzerland: SBKV
Yes
X
X
X
X
Dancers
Choreographers
Circus performers
Variety performers
Other
No
X
X
X
X
X
Other: Directors, all sorts of stage artists
Switzerland: SSRS
Dancers
Choreographers
Circus performers
Variety performers
Yes
X
X
X
X
X
X
X
X
No
Yes
X
X
X
X
X
X
X
No
Other: Les professionnel.le.s du spectacle vivant et enregistré, toutes professions confondues.
Turkey: AUT
Dancers
Choreographers
Circus performers
Variety performers
X
18 Turkey: CASOD
Yes
X
X
Dancers
Choreographers
Circus performers
Variety performers
No
X
X
X
X
X
X
Ukraine: CWUU
Dancers
Choreographers
Circus performers
Variety performers
Other
Yes
X
X
X
X
X
X
X
X
X
No
Yes
X
X
X
X
X
X
X
X
X
No
Yes
X
No
Other: Puppeteers
UK: Equity
Dancers
Choreographers
Circus performers
Variety performers
Other
Other: Creative professionals such as directors, designers, choreographers, stage managers etc.
USA: AEA
Dancers
Choreographers
Circus performers
Variety performers
Other
X
X
X
X
X
X
X
X
Other: Stage managers, singers
Uruguay: SUA
Yes
X
X
Dancers
Choreographers
Circus performers
Variety performers
Other
X
X
X
X
X
X
X
Other: Artistas calljeros, tecnicos de teatro y publicidad
No
3. What are the areas of live performance that exist in your country?
Argentina: AAA
1. Permanent companies publicly owned and/or subsidised (e.g. national theatres)
2. Other publicly subsidised / Not-for-profit companies
3. Commercial ventures of all sizes
4. Touring - Commercial
4 bis. Touring - Publicly subsidised/Not-for-profit
5. Member-produced/co-operative/profit share productions
6. Fringe/small-scale productions
Theatre
X
X
X
X
Dance
Opera
Dance
X
X
X
Opera
X
X
X
X
X
X
X
Theatre
X
X
Dance
X
X
Opera
X
X
X
X
X
X
X
X
X
X
X
X
Theatre
X
Dance
X
Opera
X
Theatre
X
Dance
X
Opera
X
X
X
Theatre
X
Dance
X
X
X
X
X
X
X
Australia: MEAA
7. Other
Theatre
X
X
X
X
X
X
X
X
X
Other: Corporate theatre, variety performance, circus, contemporary performance, street theatre, stand-up comedy.
Austria: GdG-KMSfB
Azerbaijan: CWU
X
Azerbaijan: BSAG
Belgium: ACOD Cultuur
20 X
X
Opera
X
Brazil: SATED/ES
Theatre
Dance
Opera
X
X
X
X
X
X
X
X
X
X
X
Theatre
X
X
X
X
X
X
X
Dance
X
X
X
X
X
X
X
Opera
Theatre
Dance
X
Opera
X
Dance
X
X
X
Opera
Other: Gira de Artistas Circenses entre las ciudades de Espíritu Santo - Brasil
Brazil: SATED/MG
X
X
Other: los llamados artistas independientes y colectivos que hacen creaciones colectivas
Brazil: SATED/RJ
X
X
X
X
X
X
Cameroon: SCAS
Theatre
X
X
X
X
X
Canada: CAEA
Theatre
X
X
X
Dance
X
X
X
Opera
X
X
X
X
X
X
X
X
X
X
Theatre
X
X
X
X
X
X
X
Dance
X
X
X
X
X
X
X
Opera
X
X
X
Canada: ACTRA
21 Chile: SIDARTE
Theatre
Dance
X
Opera
X
X
X
X
X
X
X
X
X
Theatre
Dance
X
X
X
X
X
X
X
X
X
Theatre
X
Dance
X
Opera
X
X
X
X
Theatre
X
X
X
X
X
X
X
Dance
X
X
X
X
X
X
X
Opera
Colombia: CICA
Opera
X
Czech Republic: HA
X
X
Denmark: DAF
Other: Circus. And please note that "theatre" in this response also includes music venues and that opera is not ticked off, because it is not relevant for our
members, and we do not have specific knowledge about this area.
Denmark: DSF
Theatre
X
X
X
X
X
X
X
Dance
X
X
Opera
X
X
X
X
X
Theatre
X
Dance
X
Opera
Ecuador: FENARPE
22 X
X
X
Estonia: ENLIIT
Theatre
X
X
X
Dance
X
X
X
Opera
X
X
X
X
X
X
X
Theatre
X
X
X
Dance
X
X
X
X
X
X
X
X
X
Theatre
X
X
X
X
X
X
X
X
Dance
X
X
X
X
X
X
X
X
Opera
X
X
X
Theatre
X
X
X
Dance
X
Opera
X
Theatre
X
X
X
X
X
X
X
X
Dance
X
X
X
X
X
X
X
X
Opera
X
X
X
X
X
X
X
Theatre
X
X
X
Dance
X
Opera
X
X
X
X
X
X
X
X
X
Finland: FNL
Opera
X
X
X
X
France: SFA
7. Other
X
X
Other: Toutes ces formes de productions existent également dans le cirque
Georgia : ICSTEU
X
Germany: GDBA
7. Other
Other: Social and educational theatre projects
Greece: SEI
7. Other
Other: 1. Member-produced but with no profit (kind of "showcase" free-access productions) - 2. Amateur companies, charging admittance.
23 Hungary: SDS
4 bis. Touring - Publicly subsidised / Not-for-profit
5. Member-produced / co-operative / profit share productions
6. Fringe / small-scale productions
Theatre
X
X
X
X
X
Dance
X
X
X
Opera
X
X
X
Theatre
X
X
X
X
X
X
X
Dance
Opera
Theatre
X
X
X
X
X
X
X
X
Dance
Opera
X
X
X
X
X
X
X
X
X
Theatre
X
X
X
Dance
X
Opera
X
Ireland: SIPTU / IE
4 bis. Touring - Publicly subsidised / Not-for-profit
5. Member-produced / co-operative / profit share productions
Japan: JAU
7. Other
X
X
X
X
Kazakhstan: CWU
X
X
Kyrgyzstan: CWU
Theatre
X
X a)
X
Dance
X
Opera
X
Dance
X
X
Opera
X
X b)
Other: a) District / town theatre companies, and one “people’s” theatre company (semi-professional)
b) Some are publicly subsidised / not-for-profit, some are commercial
Latvia: LKDAF
24 Theatre
X
X
X
X
X
X
X
Madagascar: AATM
Theatre
X
Dance
X
Opera
X
X
X
X
Theatre
X
Dance
X
Opera
X
Theatre
X
X
X
X
X
X
X
Dance
Opera
Theatre
X
Dance
Opera
Theatre
X
X
X
X
X
X
X
X
Dance
X
X
X
X
X
X
X
X
Opera
X
Moldova: SICRM
Morocco
X
X
X
X
Nepal: FAAN
7. Others
X
X
Other: Special focus on youth and education (performing mostly in schools) (e.g. http://www.yo-opera.nl/algemeen.php?item=221); small scale and
performing in private homes
25 Theatre
X
X
X
X
Dance
X
X
X
X
X
X
X
Opera
X
X
X
Norway: NSF
Theatre
X
X
X
Dance
X
X
X
Opera
X
X
X
X
Theatre
X
X
Dance
X
X
X
Opera
X
X
X
X
X
X
X
X
X
X
Theatre
Dance
Opera
X
X
X
X
X
Theatre
X
Dance
X
Opera
Theatre
X
X
X
Dance
X
X
X
Opera
X
X
X
X
X
X
Theatre
X
X
Dance
Opera
Norway: NoDa
X
Panama: UNAP
4. Touring - Publicly subsidised/Not-for-profit
Other: auspiciada por fundaciones
Paraguay: CEPATE
X
X
X
Peru: SAIP
Poland: ZZAP
26 Portugal: STE
Theatre
X
X
X
X
X
X
X
Dance
X
X
X
X
X
X
X
Opera
X
Theatre
X
X
X
X
Dance
X
X
X
Opera
X
Theatre
X
X c)
X
X d)
Dance
X a)
X
X
Opera
X a) b)
X
X
X e)
X
X
X
X
Russia: RCWU
7. Others
X
Traditionaly, combined opera and ballet companies have accounted for a majority of permanent companies in the dance and opera sector.
operetta (musical comedy) theatres
c) Itinerant (chapiteau) circuses
d) Circuses, puppet theatres
a)
b) Including
Slovenia: GLOSA
Theatre
X
X
Dance
X
X
Opera
X
X
X
X
X
X
X
X
X
X
Theatre
Dance
Opera
X
X
X
X
X
X
X
X
X
X
Theatre
X
X
X
Dance
X
X
Opera
X
X
X
X
X
X
X
X
South Africa: SAGA
Sweden: TF
27 Switzerland: SBKV
Theatre
X
X
X
X
X
X
X
Dance
X
X
X
Opera
X
X
X
X
Theatre
Dance
X
X
Opera
X
X
Switzerland: SSRS
X
X
X
X
X
X
Theatre
X
X
X
X
X
X
X
Dance
Theatre
X
X
Dance
X
X
Opera
X
X
X
X
X
X
X
X
X
X
Theatre
X a)
Dance
X b)
Opera
X b) c)
X
X
X
X d)
X
X
X e)
X
X
Turkey: AUT
Opera
X
X
X
X
X
Turkey: CASOD
7. Other
Other: Commercial ventures are entitled to apply for public funding - So, some receive partial funding for their productions
Ukraine: CWUU
7. Other
Including combined drama and musical theatre
combined opera and ballet companies have accounted for a majority of permanent companies in the dance and opera sector
c) Including operetta (musical comedy) theatres
d) Itinerant (chapiteau) circuses and three publicly owned touring theatres.
e) Circuses, puppet theatre
a)
b) Traditionally,
28 UK: Equity
7. Other
Theatre
X
X
X
X
X
X
X
X
Dance
X
X
X
X
X
X
X
X
Opera
X
X
X
X
X
X
X
X
Theatre
Dance
Opera
X
X
X
X
X
X
X
X
X
Other: Plus live performance in the variety and light entertainment sector
USA: AEA
7. Other
X
Other: Immersive productions; site-specific productions; Cabaret; Casino; Theme Parks. (I can't speak to dance and opera in most of these categories, as
they are usually represented by the American Guild of Musical Artists, when not part of a theatrical production).
Uruguay: SUA
29 Theatre
X
Dance
X
X
X
X
X
X
X
X
X
X
X
Opera
X
UNION AND COUNTRY PROFILE
4. Please rate the employment opportunities provided by the following institutions to performers (with “1” meaning the most
employment of performers and “6” meaning the least employment of performers) and indicate the trends over the last 5 years.
Argentina: AAA
4. Touring – Commercial
4 bis. Touring – Publicly subsidised / Not-for-profit
5. Member-produced / co-operative/profit share productions
Employment Opportunities Rate
4
Trends
5
3
6
2
Australia: MEAA
1
4
7
3
6
2
5
Trends
Stable
Decrease
Stable
Stable
Stable
Increase
Increase
6
6
2
4
4
3
4
Trends
Stable
Stable
Decrease
Decrease
Stable
Increase
Increase
1
Trends
Austria: GdG-KMSfB
Azerbaijan: CWU
2
Belarus: BSAG
1
Trends
6
3
Other: Employment opportunities in commercial ventures have been increasing over the past five years.
30 Employment Opportunities Rate
4
Trends
Decrease
6
2
4
Decrease
Stable
Decrease
3
Stable
Brasil: SATED/ES
7. Other
Trends
3
4
Increase
Increase
4
4
3
Increase
Increase
5
4
1
1
5
1
1
Trends
Estable
En aumento
En aumento
En aumento
En aumento
Estable
Estable
Trends
Other: Gira de Artistas Circenses entre las ciudades de Espíritu Santo - Brasil
Brasil: SATED/MG
Brasil: SATED/RJ
2
5
4
6
3
1
Canada: CAEA
2
2
1
2
2
2
3
Trends
Stable
Stable
Decrease
Decrease
Decrease
Increase
Increase
5
1
2
5
3
4
6
7
Trends
3
2
2
5
3
5
5
Trends
Decrease
Decrease
Stable
Decrease
Decrease
Increase
Increase
Canada: CAEA
7. Others
Canada: ACTRA
31 Chile: SIDARTE
6
5
Trends
Increase
Increase
6
1
2
6
Increase
Stable
Decrease
Decrease
3
3
Trends
Stable
Stable
5
6
5
3
Stable
Stable
Stable
Stable
1
2
3
4
Trends
Stable
Decrease
Stable
Stable
Colombia: CICA
Czech Republic: HA
Stable
Denmark: DAF
7. Other
5
5
3
6
7
2
4
1
Trends
2
2
3
2
2
2
2
Trends
Decrease
Decrease
Increase
Decrease
Decrease
Stable
Stable
6
3
6
6
3
3
2
Trends
Decrease
Increase
Stable
Decrease
Stable
Stable
Increase
Other: Circus and music venues
Denmark: DSF
Ecuador: FENARPE
32 Estonia: ENLIIT
1
3
4
4
3
3
3
Trends
Stable
Stable
Stable
Stable
Stable
Stable
Stable
7
7
3
Trends
Decrease
Decrease
Increase
3
4
4
Increase
Stable
Increase
Trends
Decrease
Decrease
Stable
Finland: FNL
France: SFA
Stable
Increase
Increase
Comment: Nous sommes dans l’incapacité de répondre à cette question sur les opportunités d’emploi sachant qu’aucune statistique ne différencie les
types de productions entre subventionnées et privées quelque soit la taille de ces production ou le type de financement
Georgia: ICSTEU
1
6
Trends
6
Germany: GDBA
7. Other
1
4
2
3
6
6
3
6
Trends
Decrease
Stable
Increase
Increase
Stable
Increase
Increase
Increase
3
5
2
Trends
Stable
Decrease
Decrease
1
4
Increase
Increase
Other: Social and education theatre-projects
Greece: SEI
33 Hungary: SDS
1
2
5
4
6
Trends
6
Ireland: SIPTU / IE
3
4
3
6
6
4
3
Trends
Decrease
Decrease
Decrease
Stable
Stable
Increase
Increase
6
4
4
4
5
6
6
Trends
Stable
Decrease
Stable
Stable
Stable
Stable
Stable
Japan: JAU
Other: There is no clear difference between commercial and subsidised/not-for profit. Subsidised member-produced company a mainstream in theatre and
dance.
Kazakhstan: CWU
1
2
3
Trends
4
Kyrgyzstan: CWU
1
2
4
Trends
3
Latvia: LKDAF
34 Employment Opportunities Rate
1
5
6
6
6
6
6
Trends
Stable
Stable
Decrease
Decrease
Decrease
Decrease
Decrease
Madagascar: AATM
3
Trends
Decrease
3
3
Decrease
Decrease
1
Trends
5
2
4
2
3
1
5
Trends
Increase
Increase
Stable
Stable
Stable
Increase
Decrease
6
Trends
Stable
4
Stable
1
3
1
2
4
5
6
Trends
Decrease
Decrease
Decrease
Decrease
5
4
2
2
1
6
5
Trends
Decrease
Decrease
Decrease
Stable
Stable
Increase
Stable
3
2
2
Trends
Stable
Increase
Increase
Moldova: SICRM
Morocco: SMPT
Nepal: FAAN
Norway: NSF
35 3
Norway: NoDa
2
1
2
Trends
Stable
Stable
Stable
4
3
7
Increase
Increase
Stable
6
6
3
3
3
1
3
Trends
Stable
Stable
Stable
Stable
Stable
Stable
Stable
5
5
5
6
6
1
5
Trends
Increase
Decrease
Increase
Stable
6
3
1
Trends
Decrease
Stable
Stable
1
1
Increase
Increase
5
2
Trends
2
4
4
5
3
5
4
Trends
Decrease
Decrease
Decrease
Decrease
Decrease
Decrease
Decrease
4
3
3
2
Trends
Stable
Increase
Increase
Panama: UNAP
Paraguay: CEPATE
Increase
Increase
Peru: SAIP
Poland: ZZAP
Portugal: STE
36 2
3
Increase
Russia: RCWU
1. Permanent companies publicly owned and/or subsidised (e.g. national theatres) a)
7. Other b)
a) Includes
1
6
2
Trends
4-5
4-5
7
national, regional and municipal theatre companies.
puppet theatres
b) Circuses,
Slovenia: GLOSA
1
1
Trends
Decrease
Decrease
6
5
4
5
Decrease
Decrease
Decrease
Decrease
1
1
6
4
1
4
5
Trends
Stable
Stable
Stable
Increase
Stable
Increase
Stable
1
2
3
Trends
Decrease
Decrease
Decrease
2
3
4
Decrease
Decrease
1
5
2
3
7
6
4
Trends
Decrease
Decrease
Decrease
Stable
Stable
Increase
Stable
Trends
1
3
Decrease
Stable
1
2
Increase
South Africa: SAGA
Sweden: TF
Switzerland: SBKV
Switzerland: SSRS
37 Turkey: AUT
3
3
1
6
5
3
3
Trends
Stable
Increase
Increase
Stable
Stable
Increase
Increase
1
7
6
5
2
5
3
Trends
Decrease
Decrease
Stable
Stable
Decrease
Stable
Increase
1
Trends
Turkey: CASOD
Ukraine: CWUU
1. Permanent companies publicly owned and/or subsidised (e.g. national theatres) a)
7. Other b)
a) Includes
2-3
6
4
4
2
national, regional and municipal theatre companies
puppet theatres
b) Circuses,
UK: Equity
4
4
4
4
3
2
2
Trends
Trends
1
2
3
6
7
7
5
Increase
Decrease
Increase
Stable
Stable
Increase
Decrease
6
6
5
6
4
1
3
Trends
Stable
Stable
Increase
Stable
Increase
Increase
Increase
USA: AEA
7. Other
Other: Immersive productions; site-specific productions; Cabaret; Casino; Theme Parks
Uruguay: SUA
5. Can you make an estimate of the percentage of your membership that is predominantly employed in the live performance
sector?
Did not answer the question: Azerbaijan – CWU; Brazil – SATED/MG; Norway – NSF; Paraguay – CEPATE; Turkey – CASOD
Organisation
Argentina – AAA
Australia – MEAA
Austria – GdG-KMSfB
Belarus – BDAK
Belgium – ACOD Cultuur
Brazil – SATED/ES
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Czech Republic – HA
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
Hungary – SDS
Ireland – SIPTU / IE
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Netherlands – FNV KIEM
New Zealand – Equity NZ
Norway – NoDa
Panama – UNAP
Peru – SAIP
Poland – ZZAP
Portugal – STE
Romania – FAIR-MediaSind
Russia – RWCU
Slovenia – GLOSA
South Africa – SAGA
Sweden – TF
Switzerland – SBKV
Switzerland – SSRS
Turkey – AUT
Percentage of membership predominantly employed in the live performance
Aproximadamente 80 %
It is impossible to estimate. Our membership will work across a range of media in the course of the year.
This includes live performance, film, television radio, voiceover and other commercial environments.
60%
60-70% of our members are permanently employed in drama theatres
50%
Son trabajadores autónomos
15%
20%
55%
5 – 10%
80% of theatre
El trabajo en el sector del espectáculo en vivo no lo podemos considerar un empleo. Es eventual. Aprox.
20%
60%
80 % - the reason for this high percentage is that recording and most of our members other income (as
performers) is not considered as employment. However, the percentage would be lower if employment
outside the performance area (e.g. teaching or even employment outside the cultural sector) were to be
included.
20%
84%
80%
80% Most of the Finnish actors make most of their living from life performances. AV-work is more
temperately and random.
53%
10-12%
75%, the rest is pensioners
The only requirement for an actor to be enlisted as full member of the Union is to have 200 days of
theatrical occupation, proved by his Social Security revenue stamps. This kind of Social Security covering
is possible today only in theatre productions. As a consequence, about 90% or more of our members are
employed (if they are employed at all) in the live performance sector. Of course there are some actors
working exclusively in TV or cinema, but they usually do not come to the Union, as they seldom consider
themselves as professionals.
75%
50%
Less than 5%
Around 6 % (of the aggregate membership)
Around 4% (of the aggregate membership)
Approx.90% of all actors are members of the LKDAF
Depuis la crise politique survenue à Madagascar en 2009 et qui perdure toujours malgré les élections
présidentielles et législatives en décembre 2013, les artistes vivent dans des conditions difficiles et sont
obligés de faire d’autres emplois. Il m’est donc difficile de répondre aux questions n° 5, 6, 7, 12, 13, 14
57 % (of the “FIA trades” only)
30%
30%
As actor/dancer approx.. 4%. When you include artists such as musician’s app. 9,5%. When you also
include technicians and people working in organisation app. 13%
25%
30%
10%
20%
100%
75%
No
Around 10 % (of the aggregate membership)
17% (of all employees, including technical equipment and marketing)
26% (of performers)
80%
80%
95%
90%
40%
39 Ukraine - CWUU
UK – Equity
USA – AEA
Uruguay – SUA
Around 5.5 % (of the aggregate membership).
50%
As our members work in the jurisdiction of other performing arts unions, we can only state with certainty
that in the 2012-2013 season, 42.8% worked under our contracts, and the average weekly total was
13.7%.
70-80%
6. Would you say that live performance constitutes the major part of performers’ overall employment?
Organisation
Argentina – AAA
Australia – MEAA
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brasil – SATED/MG
Yes
X
No
X
For many, professional theatre gig per year would be standard or exceptional.
X
X
Plus d’emploi dans l’audiovisuel (Flandres)
X
X
X
X
Brasil – SATED/RJ
X
Cameroon – SCAS
Canada – CAEA
X
X
Canada – ACTRA
Chile – SIDARTE
Los jóvenes principalmente buscan como locos el trabajo en televisión, donde
surgen dudas acerca de la verdadera motivación de los nuevos artistas, la
vanidad o el talento
En Rio de Janeiro, específicamente, el sector que más emplea los artistas son
las teles.
Mais la multiplication des cabarets de musique et de dance est significative.
A large percentage of our members must have alternative forms of employment
and cannot live exclusively on their earnings from their work in the theatre.
X
X
Colombia – CICA
Demark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
X
X
X
X
X
X
Georgia - ICSTEU
Germany – GDBA
Greece – SEI
X
X
X
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
X
X
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
X
Norway – NSF
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Russia – RCWU
X
X
X
X
X
Slovenia – GLOSA
South Africa - SAGA
Sweden – TF
X
X
X
X
Trends
Es un empleo precario con escasa remuneración, sólo hay estabilidad en
sueldos cuando es subvencionado.
X
Falta de incentivo del sector publico
X
L’offre d’emploi dans l’audiovisuel semble être croissant mais vu
l’augmentation du nombre de professionnels, le nombre de jour de travail par
artiste semble être en diminution.
After the outburst of the current economic crisis, TV productions were
dramatically decreased (even to a point of non-existence). On the other hand,
cinema in Greece was always in amateur or very-low-budget levels, and actors
occupied in the movies are very poorly paid, if paid at all. So, obviously, the
major part of their occupation is theatre.
The numbers of employees are less and less
X
X
X
X
No
The situation appears to be relatively stable.
At this juncture, things appear to have stabilized.
X
Il n’existe pas des artistes interprètes professionnels mais seulement des
intermittents.
X
X
X
Performers seem to earn a lower income in life performance (less jobs, more
actors) or income outside the industry.
No
Si la tecnología los ha suplantado
X
X
X
X
X
Audiovisual sector is increasing especially in Television
We estimate that at least 70 per cent of all performers are predominantly
employed in live performance. However, this percentage has been going
steadily down in Moscow, St. Petersburg and several other major centres of
audiovisual production.
Number of self-employed is increasing, work opportunities are decreasing
No
41 Switzerland – SSRS
Turkey – AUT
Turkey – CASOD
Ukraine – CWUU
UK – Equity
USA – AEA
Uruguay – SUA
X
Il y a de moins en moins d’emploi dans l’audiovisuel, notamment à cause de la
diminution des opportunités d’emploi offerts par la radio télévision publique
X
X
X
We estimate that at least 80 per cent of all performers are predominantly
employed in live performance. However, this percentage may have been
declining over the past few years in Kiev where employment opportunities have
been on the rise in the audiovisual sector and new media.
X
We cannot say
X
7. Could you give data on the employment of performers in the live performance sector, e.g. in terms of weeks worked under
collective agreements?
Did not answer the question: Argentina – AAA; Azerbaijan – CWU; Denmark – DAF; Estonia – ENLIIT; France – SFA; Madagascar –
AATM; Norway – NSF; Poland – ZZAP; Turkey – AUT
50%
Australia – MEAA
Without conducting quantitative research, this is difficult to say. We can say, that all subsidised and commercial theatre producers in
Australia work under Equity collective agreement.
Belarus – BSAG
Actors employed full-time by theatre companies (via fixed-term contracts valid for 1 to 5 years) are covered by the sectorial agreement with
the Ministry of Culture and by local company-level agreements. Drama companies would usually employ 25 to 65 performers (including
those working part-time on services contracts).
Non
Brazil – SATED/ES
La mayoría no hacen acuerdos colectivos
Brazil – SATED/MG
Los espectáculos en vivo trabajan 3 veces por semana y los infantiles 2 veces y cuando hay giras.
Brasil – SATED/RJ
Este año fue incluyendo en le acuerdo colectivo de trabajo el sueldo mínimo para los artistas. Todavía no tenemos una evaluación sobre el
tema.
Cameroon – SCAS
Il n’y a pas encore de convention collectives, les discussions sont en cours.
Canada – CAEA
In the fiscal year ending March 31st, 2014, there were 76,226 workweeks under our agreements.
Canada – ACTRA
No, we are recorded media union
Chile – SIDARTE
No existe acuerdo colectivo
Colombia – CICA
No existen acuerdos colectivos.
About 40 weeks in a year. Those who work as employees / with the public owned companies / work on a permanent basis, their contracts
are made for, at least, two years employment. The relations are governed by collective agreements.
Denmark – DSF
12/18 weeks
Ecuador – FENARPE
Semanalmente y en otros casos temporales
Finland – FNL
Every work in theatres should be covered by collective agreements, but the smallest groups cannot follow all the rules.
Georgia – ICSTEU
1-2 performances a week
Germany – GBDA
Around 7.800 performers work under our collective agreement NV Bühne, which is a contract of at least one full year (52 weeks).Overall
data is very difficult to get, but the German unemployment agency counts 20.000 performers working as employees. The unemployment rate
was in 2006 in that group according to the agency 22 %. The agency cannot give any data about performers who work solely as selfemployed artists and therefore never registered with the agency.
The KSK (Künstlersozialkasse – social insurance for freelance-artists and publicists) counts around 24.000 insured persons in the field of
performing arts, but included are here also non-performing artists working in the field.
43 Greece – SEI
After the establishment of the economic crisis, all kinds of collective agreements were abolished. Actors may be employed as unskilled
workers, or with a percentage or profit sharing, or even by the day or the hours of work. Or not paid at all. Contracts are rarely signed, and
employers do not send copies to our Union. This means we do not have data on current employment conditions.
Hungary – SDS
About 3000
No
Japan – JAU
There is no collective agreement for stage actors. Even National Institutions such as New National Theatre works in commercial manner. In
Japan, performers are paid per performance.
Kazakhstan – CWU
Employment is regulated by the Labour Code.
Kyrgyzstan – CWU
Employment is regulated by the Labour Code
Latvia – LKDAF
Not all theatres have collective agreement
Moldova – SICRM
11 months a year plus 1 month of paid leave
Morocco – SMPT
Le monde de travail n’est pas bien organisé, pour ce là notre syndicat ouvre pour l’amélioration et la structuration de l’emploi des artisteinterprètes.
Nepal – FAAN
2000
Not anymore
Increasingly seasons are shorter: many as little as 5 days, more at 2 weeks a few at 4 weeks
Norway – NoDa
A qualified guess: about 1300
Panama – UNAP
Son pagados como profesionales y no gozan de los privilegios de estabilidad
Paraguay – CEPATE
La mayoría de nuestros afiliados son actores y actrices que generan su propio trabajo siendo el espectáculo en vivo nuestra mayor
actividad. Son pocos los empleadores que existen en Paraguay
Peru – SAIP
No
Portugal – STE
No! And there are no Collective agreements
No collective agreements on the sector.
Russia – RCWU
Statistics of time worked under collective agreements have never been collected in Russia and, for that matter, throughout the former USSR.
However, we believe that what could serve as a proxy indicator is the aggregate quantity of artistic personnel (actors, musicians, stage
managers, artistic directors, etc.) employed on a permanent or long-term basis by the 612 permanent national, regional and local publicly
funded and owned theatre companies throughout Russia and covered by nationwide, regional and local collective agreements negotiated by
the RCWU with the Russian Ministry of Culture and with regional and municipal authorities. At the end of 2013, the figure in question was
44,100. Note that not all of them are unionized, nor do all of them belong to FIA trades.
Slovenia – GLOSA
Approximately 500
44 No, we don’t have any collective agreements or the ability to offer statistics on the amount of work done in each area of live performance.
Sweden – TF
No
We have approx.. 1250 members. About 400 are constantly employed and work all year under collective Agreements. Not constantly
employed (free Lance) Performers who are employed for one production at a time also work under the collective Agreements. Our collective
Agreements apply to all soloists when employed by a theatre that is a member of the stage association with whom we negotiate our
collective Agreements. We are still in negotiations for the groups CA (chorists and Corps de B.)
Non
Turkey – CASOD
According to the Turkish State Theatres’ 2013 yearly report, there are 717 performers employed by them working as “Contracted Personnel”.
But the planned establishment of TUSAK (Art Council of Turkey) and it’s strategy seems that it will at the very least shrink the size of
employment of performers.
Ukraine – CWUU
Statistics of time worked under collective agreements have never been collected in the Ukraine. However, we would propose what might be
a proxy indicator, namely, the aggregate quantity of artistic personnel (actors, musicians, stage managers, artistic directors, etc.) employed
on a permanent or long-term basis by the 133 permanent national, regional and local publicly funded and owned theatre companies and by
ten permanent circuses throughout the Ukraine and covered by nationwide, regional and local collective agreements negotiated by the
UCWU with the Ministry of Culture and with regional and municipal authorities. At the end of 2013, the figure in question was around 10,000.
Note that not all of them are unionized, nor do all of them belong to FIA trades, although the collective agreements, once negotiated and
signed, do apply to the totality of the staff.
UK – Equity
No
USA – AEA
In the 2012-13 season, there were a total of 292,273 weeks worked under Equity contracts
Uruguay – SUA
No existen convenios colectivos en el país
8. Do you see emerging new types of live performance in your country (e.g. immersive/interactive theatre)?
Organisation
Argentina – AAA
Australia – MEAA
Yes
X
X
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
X
X
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
X
X
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NSF
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Russia – RCWU
No
Specify
Interactivo – Inmersión
In some cities, recent years have seen an emergence of independent in-theatre
“contemporary performance” programming. This work often cut across traditional media and
form. This is not the case in all major centres.
X
X
X
X
Teatro de temática de derechos humanos, sociales, ambientales
El espectáculo de una sola persona, sin senario, sin figurina (los stand upas), los
espectáculos hechos para empresas, industrias y comercio, Las cuestaciones de historia, el
teatro de inmersión, los interactivos, los sociales y inclusivos, los espectáculos integrados a
la accesibilidad
X
Des spectacles de masse en plein air, et interactifs. Surtout télévisuels.
But only at the smallest, most experimental level. None of the large-scale companies are
doing this type of work yet.
We see escalation of multi-media in many live performance productions.
X
X
X
X
X
Mixed genres, like physical theatre, circus, dance, with audiovisual
Site specific performances and an increased level of performances including modern circus
and other modern dance.
X
X
X
X
Stand-up became very popular
This is a growing sector in theatres, theatre groups, companies, in social sector
(old peoples houses, prisons…), factories and so on. Funding is a problem: it is
hard to get money from other resources than culture funding which is then taken
out from other cultural activities.
X
Spectacles de rue
X
X
Contemporary acting and directing theatre have combined in recent years more and more
with the areas of performance and documentary theatre. Since a few years there is also a
development called post-migrant theatre, meaning a form of theatre that covers stories and
perspectives of those who are themselves no longer migrate, but bring these immigrant
background as a personal knowledge and collective memory. In addition “postmigrantisch”
in our globalized, especially urban life stands for the entire common area of diversity beyond
origin. There were some experiments with interactive theatre as well.
X
X
X
X
Small amount of interactive theatre
Immersive, interactive, and sight-specific performances
X
X
X
X
X
X
X
X
Voir explication n°5
Le théâtre d’effigie, Bunraku et de rue…
Not as much in content or appearance of the life performance. Mainly in way the
communicate with public e.g. by means of social media and funding.
Theatre mostly
X
X
X
X
X
El stand up, cuenta cuentos y circo
X
X
X
X
X
The lack of work forces performers to find new ways of entertainment – lot of street work
(Variety, Theatre and Dance). Performers gather (two or three) for short performances in
unusual schedules.
Not specifically
Several projects have been or are being developed in the documentary theatre
sector (e.g., “Teatr.doc” in Moscow) and in the immersive/interactive theatre sphere
46 (e.g., “Shakespeare. A Labyrinth” [Theatre of Nations, Moscow], “S.T.A.L.K.E.R.” [a
sci-fi quest show, Gogol Centre, Moscow], as well as several small-scale/fringe
projects for children in Moscow and elsewhere).
Slovenia
X
Sweden – TF
X
X
X
Turkey – AUT
Turkey – CASOD
Ukraine – CWUU
UK – Equity
USA – AEA
X
X
X
Uruguay – SUA
Linking of different kinds and styles of theatre arts (e.g. classic with modern styles,
modernization of classical works); linking of theatre with film, modern music, experimental
programmes; linking of professional artists with amateur ones; international live performance
festivals with experimental approach
More improvised theatre and self produced works
X
X
X
Dinner theatre has increased. And also immersive/interactive Performances. Also Business
Theatre has become quite a Job opportunity.
Théâtre d’appartement
Immersive/interactive theatre
Improvisation theatre and interactive theatre is developing. But still small in numbers.
No reliable information available
Immersive, interactive, large scale with community participants
Immersive/interactive theatre is becoming a trend, both at the small not-for-profit level and in
larger commercial arenas.
X
9. Has this created new challenges for the unions?
Did not answer the question: Austria – GdG-KMSfB; Azerbaijan – CWU; Belarus – BSAG; Belgium – ACOD Cultuur; Brazil –
SATED/RJ; Chile – SDARTE; Colombia – CICA; Denmark – DSF; Ecuador – FENARPE; Georgia – ICSTEU; Greece – SEI; Hungary –
SDS; Kazakhstan – CWU; Kyrgyzstan – CWU; Latvia – LKDAF; Madagascar – AATM; Norway – NSF; Norway – NoDa; Panama –
UNAP; Peru – SAIP; Poland – ZZAP; Romania – FAIR-MediaSind; Uruguay – SUA
Organisation
Argentina – AAA
Yes
Australia – MEAA
Brazil – SATED/ES
X
X
Brazil – SATED/MG
X
Cameroon – SCAS
X
Canada – CAEA
X
Canada – ACTRA
X
No
X
X
Denmark – DAF
Estonia – ENLIIT
Finland – FNL
X
X
Nepal – FAAN
X
X
X
X
X
X
X
X
New Zealand - Equity NZ
Paraguay – CEPATE
Portugal – STE
X
Russia – RCWU
Slovenia – GLOSA
X
X
Sweden – TF
Turkey – AUT
Turkey – CASOD
They do not have any interest in union activities.
Notre défi est de bien structurer et organiser le métier parce que nous somme au début de
la structuration, la vie de notre syndicat ne dépasse pas 22 ans
Increasing cost of performance and static market
The new challenge are: the strict competition authority in our country, the more liberal/right
way thinking in politics about ‘the marketplace’ and ‘arts in general’ and the decrease in self
employed persons in the branch. Our collective labour agreement in theatre will be binding
to companies that mainly (more than 50% of what they spend on wages) are active in
theatre production. Up until now the self- employed cannot be covered by collective
bargaining.
X
X
Smaller groups of performers are more difficult to address to. Their constant mobility is a
problem to us. We don’t have the means to join them and talk to them.
X
Need for regulation of self-employed by collective agreements.
Fewer contracting opportunities and work for actors, so we lose membership du to
performers leaving the industry for more stable income streams.
X
X
X
X
X
Ukraine – CWUU
UK – Equity
X
USA – AEA
X
Adaptación los contratos a las necesidades de los empleados cuando los espectáculos son
el las calles.
Por los nuevos tipos de desarrollo y necesidades. Por ejemplo el sindicato tuvo que crear
un comisión especial para juzgar casos de artistas discapacitados físicamente pero que
quiere ser profesionalizados.
Car ce sera une révolution en temps que reconnaissance de l’artiste interprète comme
travailleur.
It will as the multi-disciplinary nature of the work may create conflicts in jurisdiction between
unions.
Overlap in jurisdiction and the need to represent members under the appropriate collective
agreements. Not always clear and requires cooperation with sister unions and guilds i.e.:
Canadian Equity
Unfortunately, only young people work in this field of acting and they are not interested in
trade unions.
We have new activities in this sector: new lobbying and helping making the market
and the activity visible and also following the terms of the contracts + giving advice
to our members about the contracts. At the beginning it had to be made acceptable
among own members.
X
France – SFA
Germany – GDBA
Japan – JAU
Moldova – SICRM
Morocco – SMPT
Specify
Hasta ahora es incipiente el trabajo con estas características y se han asimilado al
Convenio Colectivo de Trabajo de la rama Teatro con todas sus obligaciones.
Not yet
Existing challenges of performers usually not working under regulated standards are still
very strong.
X
Lack of collective agreements, use of non-professionals, low pay & no pay, long working
hours, poor conditions – ‘more for less’
Most of these Producers are unwilling to consider Equity contracts for their work, and some
of them, by their nature, have inherent issues to be addressed (safety being one of the most
prevalent).
10. Can such forms be captured under collective bargaining?
Did not answer the question: Austria – GdG-KMSfB; Argentina – AAA; Azerbaijan – CWU; Belarus – BSAG; Belgium – ACOD
Cultuur; Brazil – SATED/RJ; Chile – SIDARTE; Colombia – CICA; Denmark – DAF; Denmark – DSF; Ecuador – FENARPE; Estonia –
ENLIIT; Georgia – ICSTEU; Greece – SEI; Hungary – SDS; Kazakhstan – CWU; Kyrgyzstan – CWU; Latvia – LKDAF; Madagascar –
AATM; Norway – NSF; Norway – NoDa; Panama – UNAP; Peru – SAIP; Poland – ZZAP; Romania – FAIR-MediaSind; Ukraine –
CWUU; Uruguay – SUA
Organisation
Yes
X
X
X
X
X
X
Australia – MEAA
Brazil – SATED/ES
Brazil – SATED/MG
Cameroon – SCAS
Canada – CAEA
Canada – ACTRA
Finland – FNL
France – SFA
Germany – GDBA
Japan – JAU
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Paraguay – CEPATE
Portugal – STE
Russia – RCWU
Slovenia – GLOSA
Sweden – TF
Turkey – AUT
Turkey - CASOD
UK – Equity
USA – AEA
No
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
Russia – RCWU
In fact, projects developed by permanent companies are by default covered by existing collective agreements, whilst small-scale, fringe or
private projects almost invariably fall outside the scope of those collective agreements at this juncture.
49 WORKING CONDITIONS IN LIVE PERFORMANCE
11. Please indicate for each category what the performers’ employment relationship predominantly/occasionally is in each case:
Argentina: AAA
1. Permanent companies publicly owned and/or subsidised
Predominant
Employed contract
Occasional
Employed contract
Employed contract
Other
Employed contract
Other: La relación es cooperativista. Reparto de recaudación con posibilidad de hacer aportes para sindicato y Obra Social (Sistema solidario de salud)
Australia – MEAA
Predominant
Temporary agency employed c.
Other
Other
Occasional
Employed contract
Other
Employed contract
Self-employed/services contract
Other: "Other" as used above would refer to either no contract/payment, or some form of profit-share agreement (whether Equity approved or not)
Austria: GdG-KMSfB
Predominant
Employed contract
Employed contract
Employed contract
Employed contract
Occasional
Employed contract
Azerbaijan: CWU
Predominant
Employed contract
Occasional
Employed contract
Employed contract
Employed contract
Belarus: BSAG
Predominant
Employed contract
Occasional
Predominant
Employed contract
Employed contract
Employed contract
Occasional
50 Brazil: SATED/ES
Predominant
Occasional
Brazil: SATED/MG
Predominant
Employed contract
Employed contract
Employed contract
Other
Occasional
Employed contract
Employed contract
Employed contract
Other: Ocurre que en las formas de organización llamada independiente a veces no hay ningún tipo de contrato
Brazil: SATED/MG
Predominant
Occasional
Other
Other
Cameroon: SCAS
Predominant
Employed contract
Occasional
Predominant
Occasional
Employed contract
Predominant
Occasional
51 1. Permanent companies publicly owned and/or subsidised
Canada: CAEA
Canada: ACTRA
Chile: SIDARTE
Predominant
Other
Employed contract
Occasional
Employed contract
Employed contract
Employed contract
Employed contract
Other
Other
Other: En Chile se utiliza mucho el contrato de prestación de servicios de trabajadores independientes lo que está al margen de la legislación laboral
vigente para los trabajadores de las Artes y el espectáculo. Además existe una gran cantidad de sueldos que son desacuerdo al borderó.
Colombia: CICA
Predominant
Occasional
Czech Republic: Herecká Asociace
Predominant
Employed contract
Employed contract
Occasional
Denmark: DAF
Predominant
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Predominant
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Occasional
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Predominant
Occasional
7. Other
Occasional
Other: Circus and music venues
Denmark: DSF
Ecuador: FENARPE
Estonia: ENLIIT
Predominant
Employed contract
Employed contract
Occasional
Predominant
Employed contract
Employed contract
Occasional
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Finland: FNL
7. Other
Employed contract
Other
Other: In small productions artists often practice with a personal stipendium and get salary when performing (against collective agreements,
but this is reality)
France: SFA
Predominant
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Occasional
Predominant
Employed contract
Occasional
Georgia: ICSTEU
Per show / Per performance
Germany: GDBA
Predominant
Employed contract
Employed contract
Employed contract
Employed contract
Occasional
Other
Other
Predominant
Employed contract
Employed contract
Employed contract
Occasional
Other
Other
Other
Other
Employed contract
Other
Greece: SEI
Other: "Other" = profit sharing. In 3, 5 & 6, "other" can also mean payment per performance, or per hour of work.
53 Kazakhstan: CWU
Predominant
Employed contract
Employed contract
Employed contract
Occasional
Employed contract
Hungary: SDS
Predominant
Employed contract
Employed contract
Self-employed/services c. / Seasonal
contract
contract
contract
Occasional
contract
Ireland: SIPTU / IE
Predominant
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Occasional
Predominant
Other
Other
Other
Occasional
Employed contract
Employed contract
Japan: JAU
Employed contract
Other: In theatre, opera and dance, the member-produced subsidised productions are in mainstream, and they are paid by show. Individuals are selfemployed.
Kyrgyzstan: CWU
Predominant
Employed contract
Employed contract
Occasional
Latvia: LKDAF
Predominant
Employed contract
54 Occasional
Madagascar: AATM
Predominant
Occasional
Moldova: SICRM
Predominant
Employed contract
Occasional
Morocco: SMPT
Predominant
Employed contract
Employed contract
Other
Occasional
Other: des formes d'investissement en commun
Nepal: FAAN
Predominant
Employed contract
Occasional
Employed contract
Predominant
Occasional
Employed contract
Other: Due to our previous social security system: most freelancers had (when the producer wanted to cooperate) the choice to either accept a role for a
given period as a temporary labour contract (and be able to get unemployment money afterwards) or self-employed (and in most cases pay less tax). It
depended on the personal expectations for a new job and need for money which choice people made. Since that system changed less artists will choose for
temp labour contract, because the possibility to get unemployment money decreased a lot.
Predominant
55 Occasional
Norway: NSF
Predominant
Employed contract
Employed contract
Employed contract
Occasional
Employed contract
Employed contract
Predominant
Employed contract
Employed contract
Self-employed/ services contract
Employed contract
Occasional
Employed contract
Predominant
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Occasional
Employed contract
Employed contract
Employed contract
Predominant
Employed contract
Employed contract
Employed contract
Occasional
Employed contract
Employed contract
Employed contract
Employed contract
Norway: NoDa
Employed contract
Employed contract
Employed contract
Panama: UNAP
7. Other
Other: Trabajan por temporadas
Paraguay: CEPATE
Peru: SAIP
Predominant
Other
Occasional
Employed contract
Other
Other
Other
Other: Contracto en asociación
Poland: ZZAP
Predominant
Employed contract
Employed contract
56 Occasional
Portugal: STE
Predominant
Employed contract
Employed contract
Occasional
Employed contract
Employed contract
Employed contract
Employed contract
Predominant
Employed contract
Occasional
Predominant
Employed contract
Employed contract
Occasional
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Predominant
Employed contract
Employed contract
Occasional
Russia: RCWU
4. Touring – Commercial (Itinerant (chapiteau) circuses)
7. Other (Circuses, puppet theatres)
Slovenia: GLOSA
Employed contract
South Africa: SAGA
Predominant
Occasional
Sweden: TF
Predominant
Employed contract
Employed contract
Self-employed/Services contract
Occasional
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Predominant
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Occasional
Switzerland: SSRS
Predominant
Occasional
Employed contract
Employed contract
Employed contract
Employed contract
Predominant
Employed contract
Employed contract
Other
Employed contract
Other
Other
Occasional
Other
Other
Other
Other
Other: Employé ne peut pas être vs intérimaire
Turkey: AUT
Other: all forms apart from publicly owned predominantly work without a contract
Turkey: CASOD
Predominant
Employed contract
Occasional
Other
Other
Employed contract
Other
Other
Other
Other
Predominant
Employed contract
Occasional
Employed contract
Employed contract
Employed contract
Employed contract
Employed contract
Predominant
Employed contract
Employed contract
Other
Other
Other
Other
Other
Other
Other
Other
Other
Other
Other
Other
Other
Ukraine: CWUU
4. Touring – Commercial (intinérant (chapiteau) circuses
4 bis. Touring – Publicly subsidised / Not-for-profit (Itinerant (chapiteau)
circuses, touring theatre companies)
UK: Equity
7. Other
Occasional
Other: This question is very difficult to answer as a variety of contract types not given on the drop down menu are used. For employment law purposes the
main funded theatres will offer fixed-term contracts which confer rights as either employees or workers to the performers. In the commercial sector and on
58 the fringe in most cases we would argue that the performers would be at least workers and possibly employees. We may even argue that performers on
profit-share contracts are workers depending on the terms of their engagement. For further information on this please contact me.
USA: AEA
Predominant
7. Other
Occasional
Employed contract
Employed contract
Employed contract
Employed contract
Other
Other
Other
Other: We only allow our contracts to be used for Equity work (which I have chosen "employed contract" for), but other types of work might be done under
Codes we have created, which do not require a contract, simply the filing of paperwork.
Uruguay: SUA
Predominant
Other
Other
Other: Se trabaja sin contrato
59 Occasional
Other
Other
WORKING CONDITIONS IN LIVE PERFORMANCE
12. Please indicate for each category what average contract duration predominantly/occasionally is in each case:
Argentina: AAA
Predominant
Per show contract/single prod.
Occasional
Other
Other: Acuerdo de conformación de cooperativa por producción determinada.
Australia: MEAA
Predominant
Other
Occasional
Permanent/long term contract
Other
Predominant
Per performance contract
Occasional
Seasonal contract
Seasonal contract
Other
Austria: GdG-KMSfB
Azerbaijan: CWU
Predominant
Occasional
Belarus: BSAG
Predominant
Fixed term employment contract
Occasional
Predominant
Seasonal contract
Seasonal contract
Occasional
60 Brazil: SATED/ES
Predominant
Occasional
Brazil: SATED/MG
Predominant
Seasonal contract
Seasonal contract
Seasonal contract
Occasional
Brazil: SATED/RJ
Predominant
Occasional
Other
Cameroon: SCAS
Predominant
Occasional
Predominant
Seasonal contract
Occasional
Seasonal contract
Canada: CAEA
7. Other
Other: All contracts are production based other than those few companies who engage for an entire season. The 4 ballet companies engage for an entire
season (between 42 and 52 weeks) and the opera companies will engage choristers for multiple productions in a season. The two large repertory
companies engage for a full season of between 39 and 42 weeks. No contracts are guaranteed beyond the end of the current production or season. Opera
leads are engaged on a per-performance basis and many dance companies pay on a per-performance basis as well.
Canada: ACTRA
Predominant
Seasonal contract
Seasonal contract
61 Occasional
Chile: SIDARTE
Predominant
Seasonal contract
Seasonal contract
Other
Other
Occasional
Other
Other
Other
Other: En las pequeñas producciones muchas veces no hay contratos de ningún tipo, sino sujeto a borderó
Colombia: CiCA
Predominant
Occasional
Seasonal contract
Seasonal contract
Czech Republic: HA
Predominant
Permanent/long-term contract
Occasional
Predominant
Other
Other
Occasional
Seasonal contract
Seasonal contract
Seasonal contract
Seasonal contract
Seasonal contract
Denmark: DAF
7. Other
Other: Circus (per production modern, circus might be per show) and music venues (per performance)
Denmark: DSF
Predominant
Occasional
Predominant
Occasional
Ecuador: FENARPE
Estonia: ENLIIT
Predominant
Occasional
Seasonal contract
Seasonal contract
Predominant
Other
Other
Occasional
Other
Other
Other
Other
Finland: FNL
Other: There are 480 actors that have permanent long term contracts and over 1000-1100 production contracts as employees in theatres that are some
how publicly funded (state and communs).
France: SFA
Predominant
Seasonal contract
Occasional
Georgia: ICSTEU
Predominant
Seasonal contract
Occasional
Germany: GDBA
Predominant
Seasonal contract
Seasonal contract
Seasonal contract
Other
Occasional
Predominant
Seasonal contract
Occasional
Greece: SEI
63 Hungary: SDS
Predominant
Occasional
Ireland: SIPTU / IE
Predominant
Occasional
Japan: JAU
Predominant
Other
Occasional
Other
Other
Kazakhstan: CWU
Predominant
Seasonal contract
Occasional
Seasonal contract
Predominant
Occasional
Kyrgyzstan: CWU
Latvia: LKDAF
Predominant
Seasonal contract
Occasional
Madagascar: AATM
Predominant
Occasional
64 Moldova: SICRM
Predominant
Seasonal contract
Per show contract
Occasional
Predominant
Seasonal contract
Other
Occasional
Seasonal contract
Predominant
Occasional
Seasonal contract
Seasonal contract
Morocco: SMPT
Seasonal contract
Other: Des investissements partager entre les porteurs du projet
Nepal: FAAN
Predominant
Occasional
Other: Majority: 4 months.
Predominant
Occasional
Predominant
Occasional
Norway: NSF
Norway: NoDa
Predominant
Occasional
Predominant
Seasonal contract
Seasonal contract
Seasonal contract
Seasonal contract
Seasonal contract
Seasonal contract
Seasonal contract
Occasional
Seasonal contract
Seasonal contract
Seasonal contract
Seasonal contract
Seasonal contract
Seasonal contract
Seasonal contract
Panama: UNAP
Other: Son temporales los contratos debido que no existe una institución que represente la parte labora
Paraguay: CEPATE
Predominant
Occasional
Seasonal contract
Peru: SAIP
Predominant
Seasonal contract
Occasional
Other
Other
Other
Other
Other
Other
Other: Contracto de palabra
Poland: ZZAP
Predominant
Occasional
Portugal: STE
Predominant
Seasonal contract
Seasonal contract
Seasonal contract
Seasonal contract
66 Occasional
Seasonal contract
Predominant
Occasional
Seasonal contract
Predominant
Seasonal contract
Seasonal contract
Occasional
Seasonal contract
Seasonal contract
Russia: RCWU
4. Touring – Commercial (Itinerant (chapiteau) circuses)
Seasonal contract
Seasonal contract
Predominant
Occasional
Seasonal contract
Slovenia: GLOSA
South Africa: SAGA
Predominant
Occasional
Predominant
Occasional
Sweden: TF
Predominant
Seasonal contract
Seasonal contract
Occasional
Switzerland: SSRS
Predominant
Occasional
Turkey: AUT
Predominant
Seasonal contract
Other
Other
Occasional
Seasonal contract
Other
Other
Predominant
Occasional
Other
Predominant
Occasional
Seasonal contract
Seasonal contract
Seasonal contract
Turkey: CASOD
Ukraine: CWUU
4 bis. Touring – Publicly subsidised / Not-for-profit (Itinerant (chapiteau)
circuses)
Seasonal contract
Seasonal contract
68 6. Fringe / small-scale productions
Seasonal contract
UK: Equity
Predominant
Other
Occasional
USA: AEA
Predominant
7. Other
Other
Occasional
Seasonal contract
Other: We don’t know how actors are contracted for the “other” work, as we don’t cover it usually.
Uruguay: SUA
Predominant
Seasonal contract
Other
Other
Other
Other: Se trabaja sin contracto, se establecen relaciones laborales de hecho
69 Occasional
Other
Other
Other
WORKING CONDITIONS IN LIVE PERFORMANCE
13. In your country, do performers in live performance benefit from statutory protections and rights that exist for all employees?
For example, in practice, can women performers in live performance receive maternity leave/pay?
Organisation
Argentina – AAA
Australia – MEAA
Yes
X
Azerbaijan – CWU
Belarus - BSAG
X
X
Brazil – SATED/ES
Brazil – SATED/MG
X
No
X
X
Work health and safety would be the obvious example here. Superannuation, in cases of
workers engaged on contractor basis, where they meet an income threshold. Industry-wide
"awards" providing base minimums, and other protections ensured under the National
Employment Standards of the Fair Work Act, including various leave provisions.
Yes, by law but in reality the women in small theatres or productions cannot stay the whole
time in maternity leave/pay. Usually they want to return soon to work.
The Labour Code ensures that theatre actors can benefit from statutory protections and rights
that exist for all employees, and, in particular, that women performers can receive maternity
leave and pay.
Mais quand elles travaillent avec des contrats courts c’est le chômage…
X
X
Brazil – SATED/RJ
X
Cameroon – SCAS
Canada – CAEA
X
X
Canada – ACTRA
X
Chile – SIDARTE
X
Colombia – CCA
X
Denmark – DAF
X
Denmark – DSF
X
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia - ICSTEU
X
X
X
X
Germany – GDBA
X
Greece – SEI
X
Hungary – SDS
X
X
Existe legislación laboral general, y la ley que reglamenta la profesión de artistas y técnicos,
pero a los que insisten en permanecer en la informalidad no se puede aplicar y ellos causan a
si mismo un gran perjuicio
En regla tienen los derechos de cualquier empleado, pero como en general no son
contratados no pueden usar estos derechos legales.
Some do. In some cases, Stage Managers are engaged as employees (rather than
independent contractors) and therefore benefit from the protections and rights that exist under
labour law. At 2 of the 4 ballet companies, the dancers are engaged as employees.
Independent contractors (whether in our business or another) are not eligible for government
paid maternity leave or unemployment insurance payments. However, a number of our
collective agreements do provide for some amount of paid maternity leave, paid for by the
producer. See maternity leave provisions from the National Ballet of Canada where the
dancers are NOT employees via email.
Despite Federal Status of the Artist legislation as self-employed/independent contractors we
are not entitled to statutory employment rights i.e.: unemployment insurance, parental leave
etc.
Es un sector donde es muy bajo el empleo remunerado y una ausencia total de contratos
laborales.
En el caso de la maternidad por ejemplo, cada ciudadano, de cualquier profesión, debe estar
afiliado al sistema de salud para tener reconocimiento de la incapacidad. Pero en el campo
laboral no tenemos beneficios ni protección porque son contrataciones temporales o unitarias.
X
X
Japan – JAU
X
Kyrgyzstan - CWU
X
Latvia – LKDAF
Madagascar – AATM
X
To some degree - however, the status of employed performers is often challenged by either
employers or authorities with the result that they are considered as self-employed and hence
do not enjoy the same statutory protection as other performers after all.
But it is difficult and they rarely have quite the same pay as other women. They only have for
their contract period, which is short.
Se aspira que pronto se reciba apoyo gubernamental
One can safely say that all women performers in live performance are entitled to and receive
maternity leave/pay.
As employees: unemployment / health / pension / work accident insurance, paid holiday,
maternity leave/pay, parental leave, special pension fund for theatre-artists, the law on working
hours
All these existed before the economic crisis. After the abolishment of all collective agreements
(especially in the private sector), it relies upon each employer’s good will. However, these
rights are still kept in national theatres, just because the directors want to keep them.
X
Kazakhstan – CWU
Specify
X
Statutory rights are maintainable mostly but the example given of maternity leave doesn’t sit
well with this as the employment contract would not be long enough
There is no protection for any performers. Women performers cannot enjoy any maternity
payment.
These statutory protections and rights are detailed in the Labour Code and certain by laws,
such as the regulations on sick pay, etc.
These statutory protections and rights are detailed in the Labour Code and certain by laws,
such as the regulations on sick pay, maternity leave and pay, etc.
Le Statut des Artistes adopté pendant le régime transitoire a été élaboré par quelques artistes
seulement pour des raisons politiques. La plupart des artistes ne savent même pas le contenu
70 de ce statut. Le Ministère de la Culture et du Patrimoine est le ministère le plus inactif.
Moldova – SICRM
Morocco – SMPT
X
X
Mais c'est en relation avec la nature de la structure, en général la protection est limitée aux
structures étatiques
Nepal – FAAN
X
X
X
Norway – NSF
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Russia – RCWU
Slovenia – GLOSA
Sweden – TF
Switzerland - SSRS
Turkey – AUT
X
X
X
X
X
X
X
X
If they pay monthly over a certain amount for Social Security
X
X
X
X
X
X
Ukraine – CWUU
UK – Equity
X
X
USA – AEA
X
Paid by the government
No existe debido que en panamá no existe una entidad gubernamental para los beneficios a
los artistas para su estabilidad laboral.
X
X
Turkey - CASOD
Uruguay – SUA
Because self-employed do not receive social security such as in case of sickness or
unemployment performers don’t get protection. Unless they have their own private
security/insurance scheme. This is for the most self-employed to expensive. (-> Accept for the
basic/general social security that is there for everybody).
All employers are, by law, individual contractors. No statutory protections and rights are
granted outside the contract.
Performers are self-employed independent contractors and are not seen as employees.
Only performers who work at companies publicly owned, benefit from statutory protections and
rights.
If employed under State of City Theatres, or if employed under a contract, yes. In most cases
people work without contracts.
X
This is a very complex question that cannot properly be answered as Yes or No. Many
performers in live performance would be either employees or workers but they may not be
able to access the full range of employment rights due to the short-term nature of their
contracts and the lengthy and complex rules of entitlement for rights, such as for maternity
leave or pay. There is a two-year qualifying period for unfair dismissal protection and very few
performers will have a contract of that duration. We would argue that most performers would
be at least workers and therefore entitled to the National Minimum Wage, holiday pay etc.
Many variety performers will be self-employed and may not be entitled to the rights that flow to
employees or workers.
Workers' compensation insurance; unemployment insurance; social security contributions are
all required for all employment under our contracts. Health and safety standards are
sometimes applied, and laws for juvenile actors are also applied.
El trabajo artístico se caracterizo por estar desregulado en mas del 90% de la actividad. Si
bien existe ley que en su letra enuncia los derechos de los artistas como trabajadores, esta no
se aplica.
14. How does this relate to their employment status?
Did not answer the question: Argentina – AAA; Azerbaijan – CWU; Brazil – SATED/ES; Brazil – SATED/RJ; Cameroon – SCAS;
Canada – CAEA; Canada – ACTRA; Chile – SIDARTE; Czech Republic – Herecká Asociace; Denmark – DAF; Denmark – DSF;
Ecuador – FENARPE; Estonia – ENLIIT; Hungary – SDS; Japan – JAU; Madagascar – AATM; Nepal – FAAN; Netherlands – FNV
KIEM; New Zealand – Equity NZ; Peru – SAIP; Panama – UNAP; Paraguay – CEPATE; South Africa – SAGA; Sweden – TF;
Switzerland – SBKV; Turkey – AUT; Uruguay – SUA
Australia – MEAA
The threshold question would be "are they engaged as employees?" in many cases. A significant amount of work takes places in the
independent sector, wherein the performer agrees that they are engaged on a voluntary basis, thereby limiting or relinquishing a range of
general protections.
In Austria there are the Theaterarbeitsgesetz, which regulates the work of performers in the theatres, but also the legislation for employees
or for free lancers regulate the working conditions of performers (i.e. social insurance, maternity leave etc.)
Belarus – BSAG
Those employed on services contracts enjoy this coverage in accordance with the Labour Code and by agreement between the contracting
parties.
Si on est indépendant il y a un autre système, pour les employés il y a un système dans la sécurité sociale
Brazil – SATED/MG
Yo no pertenezco a ningún grupo ni compañía, soy contratada por actuación. Pero en la condición de presidente del sindicato, a pesar de
actriz premiada, los productores no me quieren contratar para no tener "problemas". En este momento, tengo que producir mi propio
trabajo.
Colombia – CCA
Los únicos que son empleados son los músicos de la orquesta filarmónica. Los demás artistas desarrollan un trabajo intermitente que no
puede denominarse empleo.
Finland – FNL
I do not understand the question.
Using your legal rights might sometimes make the theatre chief angry...
France – SFA
Le statut de salarié (employé) des artistes interprètes induit un contrat de travail avec l'employeur qui est encadré par la loi et les
conventions collectives qui leur garanti la sécurité sociale, la retraite complémentaire, la formation continue, la médecine du travail,
l'assurance chômage, l'assurance prévoyance (garantie décès et invalidité totale et définitive)... et ils peuvent bénéficier d'un fonds
mutualisé pour une couverture santé complémentaire.
Georgia – ICSTEU
This entitlement is independent of the employment status.
Germany – GDBA
Most regulations apply only for employees and not for self-employed persons.
Greece – SEI
Usually (especially in the private sector), when an actress is pregnant, she is not employed at all. In general, only highly established or
popular actors can demand for their rights to be respected. The majority of the rest seldom demands; they are just content to be occupied,
even under the most humiliating conditions. After all, unemployment among the actors have raised today to 92%, so fear of losing a possible
job always dominates.
It practice the rights are applicable regardless of status but this practice may not withstand a legal challenge
Kazakhstan – CWU
They enjoy this coverage irrespective of their employment status.
Kyrgyzstan – CWU
They will enjoy this coverage unless they are employed on a short-term contract. In general, the Labour Code provides a framework for
statutory protection of labour rights.
Latvia – LKDAF
They still have their labour contracts and after leave return
72 Moldova – SICRM
Performers whose engagements are not governed by an “employed contract” do not enjoy certain significant rights and benefits.
Morocco – SMPT
Au nivaux de la protection social des travailleurs dans le demain des spectacles vivants
Norway – NSF
Employees have full rights
Norway – NoDa
It does not
Poland – ZZAP
Maternity Vacation
Portugal – STE
If they are under a term contract, they are automatically entitled to a maternity leave and pay. If they are self-employed, they will be asked to
pay monthly to Social Security above a certain amount, which will grant them the maternity leave pay. Below that amount they are not
entitled to any payment.
The employment status is continuing
Russia – RCWU
Those employed on a self-employed contract / services contract are not entitled to benefits emanating from an employment relationship
governed by the Labour Code, such as sick pay, paid leave, etc. However, time worked under self-employed / services contracts does count
towards pension rights, and the employer/customer is required by law to pay contributions to the National Medical Insurance Scheme and
National Pension Scheme over and above the remuneration paid to the contractor. Occupational safety and health insurance contributions
are only paid by the employer/customer if the self-employed / services contract expressly provides for this obligation. Where the contractor is
registered as a sole proprietor s/he is not entitled to the above-mentioned benefits either, and the law requires him/her, rather than the
customer, to pay contributions to the Pension and Medical Insurance schemes.
Slovenia – GLOSA
Does not relate.
S’ils sont employé.e.s ils sont les mêmes droits que les autres. Pratiquement aucun artiste interprète n'est indépendant.
Turkey – CASOD
It's related to whether they are employed under a contract at all or not.
Ukraine – CWUU
1) Time worked under self-employed / services contracts counts towards pension and unemployment insurance rights.
2) The employer/customer is required by law to pay a “single social security contribution” (covering pension, unemployment, illness and
occupational safety and health insurance) equivalent to 34.7 per cent of the remuneration paid to the contractor pursuant to a services
contract.
3) A contractor employed on a services contract pays a “single social security contribution” equivalent to 2.6 per cent of his/her contractual
remuneration.
4) Artists, including performers, registered as self-employed professionals with the Pension Fund, and contractors registered as sole
proprietors, are required by law to pay a “single social security contribution” equivalent to 34.7 per cent of their monthly taxable income.
Should they wish to be entitled to sick pay and to occupational safety and health insurance their “single social security contribution” will be
somewhat higher (38.11 per cent).
5) The maximum monthly income/remuneration on which the “single social security contribution” is charged equals the current statutory
subsistence level for a working-age person multiplied by 17 (in 2014, this is UAH 20,706, i.e. about EUR 1,100 at the current exchange rate).
Where an artist, such as a performer, receives a lump sum remuneration in respect of a contract that implied provision of services for a
period exceeding one month, an average monthly income is computed for the purposes of calculating the social security contribution.
UK - Equity
Their entitlement to statutory employment law rights is wholly dependent on their employment law status.
USA – AEA
In the United States, anyone employed as it is defined by law has these rights.
15. Do you have example(s) of good practice in this field?
Did not answer the question/answered “no”: Argentina – AAA; Belarus – BSAG; Belgium – ACOD Cultuur; Brazil – SATED/ES;
Brazil – SATED/RJ; Cameroon – SCAS; Canada – CAEA; Canada – ACTRA; Chile – SIDARTE; Colombia – CCA; Czech Republic –
HA; Denmark – DAF; Ecuador – FENARPE; Estonia – ENLIIT; Georgia – ICSTEU; Germany – GDBA (do not understand the
question); Hungary – SDS; Japan – JAU; Kazakhstan – CWU; Kyrgyzstan – CWU; Madagascar – AATM; Moldova – SICRM;
Morocco – SMPT; Nepal – FAAN; Netherlands – FNV KIEM; New Zealand – Equity NZ; Norway – NSF; Peru – SAIP; Panama –
UNAP; Paraguay – CEPATE; Romania – FAIR-MediaSind; Russia – RCWU; South Africa – SAGA; Switzerland – SSRS; Turkey –
AUT; Uruguay – SUA; Ukraine – CWUU
Australia – MEAA
No, this is a growing sector within our live performance industry, and in many respects much work needs to be done to regulate best practise
conditions for performers working in this way.
Yes, the Theaterarbeitsgesetz, the collective agreements of the big theatres
Azerbaijan – CWU
Yes
Brazil – SATED/MG
Las buenas prácticas son las que garantizan el trabajo y el pago digno.
France – SFA
Non, c’est la loi.
Denmark – DSF
Yes, some employers help pregnant members and hire them, so they can have a better maternity leave with higher payment.
Finland – FNL
No, it took a decade to make actors to understand that they can use their legal rights. Now its a normal status to have parenthood leaves,
but it was not so ten years ago. Still fathers could be more active, but that is similar in other sectors as well.
Greece – SEI
Yes, only in National Theatres, as mentioned above. But this is always precarious, since the status of these theatres is continually
degrading, and nobody knows if they continue to exist and for how long.
Yes, in the National theatre and other performers rights are equal regardless of the contract type but the duration of the contracts tend to be
short from a few weeks to a few months depending on the duration of the show.
Latvia – LKDAF
Yes, there are a lot of good examples
Norway – NoDa
Yes, any person with an income and work activity at a certain level is entitled to maternity leave money from the state, employed and selfemployed.
Poland – ZZAP
Yes
Portugal – STE
No
Slovenia – GLOSA
Sabbatical year; paid training leaves; top-level artists are paid better
Sweden – TF
Yes
Yes, this applies to the subsidized theatres. We do of course also have an example or two of mal practice
Turkey – CASOD
Cannot spot a specifically "good" practice.
UK – Equity
Yes, Equity contracts which incorporate a whole range of employment law rights.
USA – AEA
74 Yes, non-compliance is rare to non-existent as these are government requirements.
16. Please give us an idea of the average annual income (in euros) of a performer in live performance in your country. If you have
agreements, please state the minimum weekly fees that apply, otherwise please make an “educated guess” in euros.
Did not answer the question: Azerbaijan – CWU; Madagascar – AATM
Argentina – AAA
Salarios Mínimos 3,400 Euros anuales promedio Hay distintas categorías según roles. .
Hay negociación libre por encima de esos salarios. Incluso con participación en ganancias.
Australia – MEAA
10,428.09E to 13,904.12E (based on $15,000AUD to $20,000AUD); this would be an optimistic estimate however.
In theatres with collective Agreements we have minimum monthly pay:
Wiener Bühnenverein (private theatres and soloists in the Bundestheater in Vienna: 1.792,77
Bundesländertheater: 1.703,06
Vereinigte Bühnen Wien: 2.311,75
Belarus – BSAG
BSAG does not have any information on the absolute level of income of performers in live performance (i.e., those on theatre company
payroll). In principle, their remuneration consists of a basic rate established by the Uniform Wage/Salary Grid, plus supplements determined
by their seniority, by provisions of local collective agreements, and by the status of a particular theatre company.
20.000 euro par ans, 2.300 Brut par mois
Brazil – SATED/ES
El ingreso medio anual es de 4000 euros, y la estimación semanal es de 83 euros
Brazil – SATED/MG
La tabella del sindicato indica como mínimo 150,00 euros semanales
Brazil – SATED/RJ
El sueldo mínimo por espectáculo es de 100 euros.
Cameroon – SCAS
900 euros/mois
Canada – CAEA
Our members average $13,750 or 9.452 €. All arts workers average $22,700 or 15.615 €. Canadians average $36,300 or 24,765 €
Canada – ACTRA
6.858 euros
Chile – SIDARTE
259 euros
Colombia – CICA
No existen acuerdos colectivos. Artistas muy reconocidos 10.000 pero son muy pocos. Otros hasta 1.000. Otros entre 500 y 0.
About 12.000 euros
Denmark – DAF
We don't have sufficient data to give an estimate for the whole group.
Average income for performers in the circus genre is app. 40.000 Euro per year
Denmark – DSF
3500 euros a month
Ecuador – FENARPE
Los casos son diferentes en cada artista o interprete. Las tablas o ingresos promedio van desde $320 semanal a $5.000 euros. $15.360 en
el primer caso anual y $240.000 en el segundo caso. Tentativamente.
Estonia – ENLIIT
Average annual income is approximately 870 euros in month
Finland – FNL
The average monthly salary is 3012 euros/month if you have a permanent contract in theatre. Freelancers earn from several small sources
pretty much the same - yearly variation is only a lot bigger. And personal variation is very much bigger than comparing long term contracts
76 with each others.
France – SFA
Le salaire annuel moyen est de 9.200€ auquel il faut ajouter l'assurance chômage qui leur permet de vivre entre deux contrats de travail. Il
faut noter que la moitié des artistes interprètes n'ont pas accès à l'indemnité de chômage.
Georgia – ICSTEU
700-900 lari (around 350-450 euros) a month
Germany – GDBA
The minimum fee in the collective agreement for theatre-artists (NV Bühne) is currently 1.650 Euro brutto per month.
The average income of a performer under that contract NV Bühne is around 3.000 Euro brutto per month.
The average income of self-employed artists in the field of performing arts is according to the KSK (Künstlersozialkasse) 1.198,83 Euro per
month. Not all of them performers though, because the KSK includes here directors or choreographers as well.
There was also a study of the biggest internet-job-market for theatre (theaterjobs.de). The study only asked the members of this internetservice. The result was that the median of performers income lays at 1.927 Euro brutto per month (employees: 2.101 Euro/self-employed:
1.440 Euro).
25 % earn less than 1.249 Euro brutto per month (employees: 1.617 Euro/self-employed: 833 Euro).
25 % earn more than 3.111 Euro brutto per month (employees: 2.942 Euro/self-employed: 2.500 Euro)
Greece – SEI
At the time when collective agreements were strong (before the economic crisis), actors' employment was salaried, and the minimum salary
was about 1100 or 1200 euros per month (there were slight differences between National Theatres and private productions) and the
minimum duration of the contract was 3 months (5 months in the NTs). So, the average annual income of an employed actor (unemployment
was already high up to 80%) was about 6000 euros.
But today, nobody can make an adequate estimation, since there is no collective agreement. Minimum salary (in the general state level) is
supposed to be at about 586 euros per month, but even this is not always kept. In addition, actors are no longer considered as salaried; the
can be employed by the performance, by the day or even by the hour of work! And of course, unemployment rates are even higher.
Hungary – SDS
It is very changing. In Hungary we have monthly income which is in average annual income about 7700€.
Minimum weekly fees for live performance is just under €500 per week
Japan – JAU
Probably less than 10,000 euros
No minimum weekly fees available
Kazakhstan – CWU
The monthly earnings of an average live performer amount to 72,000 Kazakhstani tenge (€300).
Kyrgyzstan – CWU
Performers employed in the live performance sector would generally earn between 60 and 180 euros a month, with the average earnings
usually being around 100-130 euros a month.
Latvia – LKDAF
Approx. EUR 670 per month, i.e. EUR 8000 per year
Moldova – SICRM
Around €150-200 a month
Morocco – SMPT
La moyenne est 1200 euros par an
Nepal – FAAN
Euro 2.000
2010:
Average actors € 24,000 net a year in total. 33% less than € 12,000.
When you look at work as an actor: over 50% less than € 12,000.
Subsidized: average € 555 weekly
Not subsidized: average € 511 weekly
Commercials € 750 per shooting day
Movie: € 600 per shooting day
Television € 500 per shooting day
77 New Zealand – Equity NZ
18.000
Norway – NSF
For actors working in the collective agreement area the annual average income is 55.000 euro
Norway – NoDa
18000- 19000 euros
Panama – UNAP
200 al mes
Paraguay – CEPATE
1.500.Peru – SAIP
€ 6,080.00 este es un promedio de un artista que trabaja los 12 meses del ano, generalmente esto no se da en nuestro país, hay unos que
trabajan 3 meses, otros seis hasta 8 meses en el ano.
Poland – ZZAP
15.000 Euros/year
Portugal – STE
Public companies from 1.600€ to 2.640€ monthly; Subsidized Companies from 650€ to 1.650€; Member Productions and Fringe from 485€
(Minimum National Salary) to 650€
Thereabout 4000 euros annual income
Russia – RCWU
Moscow and St. Petersburg: ca. RUR 60,000 (a little above € 1,000 at the current exchange rate) a month. Elsewhere: ca. RUR 40,000
(about € 700 at the current exchange rate) a month. Earnings vary considerably across the Federal Districts of Russia.
Slovenia – GLOSA
22.000 EUR per year, 420 EUR per week
SEMI SUBSIDISED PRODUCTIONS
Junior: 180 EURO
Intermediate: 250 EURO
Senior: 430 EURO
INDEPENDENT THEATRE
Junior - 140 EURO
Intermediate: 215 EURO
Senior: 350 EURO
Sweden – TF
33 000 euros/year estimate, agreement 2400 euros/month
Each theatre with which we have a collective Agreement has a different Minimum wage. The highest Minimum wage is Euros 844.-/week
(Zurich Opera) the lowest Minimum wage is Euros 729.-/week Of course there are theatres and Groups that might pay less, but we do not
have Agreements with These employers.
35'000 MAIS en CH c'est un tout petit revenu. Le revenu annuel estimé nécessaire pour s'en sortir pour une famille avec deux enfants sur
l'arc alémanique est de 70'000 €.
Turkey – AUT
Nearly 700 Euros
We don't have agreements.
Turkey – CASOD
For State and City Theatres employees average would be around 8250 EUR (The performers on the higher rank of the scale in public
service/performance scale would make around 14500 EUR)
Ukraine – CWUU
Ca. UAH 3,000 (a little above € 150 at the current exchange rate) a month across the country, ca. UAH 4,000 (a little above € 200 at the
current exchange rate) a month in Kiev. Real earnings have been going down steadily since last autumn due to high inflation and an ongoing
78 devaluation of the national currency, hryvnia, against the major world currencies. The statutory minimum monthly wage was UAH 1,218 at
the beginning of 2014 (equivalent to €110) and should have been raised to UAH 1,415 (equivalent to €75) by November pursuant to an
indexation mechanism introduced by the Ministry for Social Policy, although the ministry has given no formal acknowledgments of that
indexation since July.
UK – Equity
Equtiy's 2013 membership survey provides income data but it's not broken down by sector. Our survey found that 37.84% of respondents
earned under £5k, 18.24% between £5k and £10k, 19.16% between £10k and £20k, 11.38% between £20k and £50k, 1.53% between £50k
and £100k and 0.67% over £100k. Equity weekly minimums in live performance are as follows: Commercial Theatre £431, ITC £430, West
End either £633.40, £575.81 or £677.81. We can give you a full rate sheet is this would be of interest.
USA – AEA
In the 2012-13 season, 79% of members earned 18,850 Euros or less
11% earned between 18,850 and 37,701 Euros.
10% earned between 37,701 and 150,807 Euros.
The remaining group earned over 150,807 Euros.
Minimum salaries under our agreements vary widely, from a current top of 1360 Euros/week to minimum hourly wage calculated weekly
(which can vary by state - the Federal rate is currently 5.46 Euros/hour). Our agreements can be found at
http://www.actorsequity.org/library/library.asp?cat=3
Uruguay – SUA
Una primera figura del elenco oficial gana alrededor de 40.000 euros al ano. Excepcionalmente un artista independiente gana alrededor de
800 euros al ano. En la mayoría delos casos recibe menos ganancia o ganancia cero.
17. How does this relate to the median income and cost of living in your country?
Did not answer the question: Brazil – SATED/RJ; Madagascar – AATM; Switzerland – SBKV; Turkey – AUT
Argentina – AAA
El ajuste salarial se hace anualmente en discusión paritaria. Pero en todos los casos la discontinuidad laboral no permite establecer una
clara relación del ingreso medio de cualquier trabajador.
Australia – MEAA
"All employees average weekly total earnings" in the year to May 31 2014 = $58,390.80AUD (40.593.64 Euro). Source: Australian Bureau of
Statistics
This is rather low
Azerbaijan – CWU
The minimum statutory monthly wage/salary currently amounts to €136.
Belarus – BSAG
The earnings of drama theatre actors are about par with the average earnings in this country.
Il faut un revenu de 2400 Bruto par mois moyenne
Brazil – SATED/ES
El coste de vida es muy alto en comparación al salario medio
Brazil – SATED/MG
Es un promedio para que una persona pueda pagar sus cuentas por lo menos
Cameroon – SCAS
Un peu au dessus du SMIG local, mais parfois à la tête du client.
Canada – CAEA
Median income for a family of 4 is $72.200 or 49,450 €. The "poverty line" is $23,298 in a city over 500,000 or 15,950 €. Poverty line for a
family of 4 is $43,292 or 29,640 €
Canada – ACTRA
13.298 Euros is the national poverty line income for a single adult
Chile – SIDARTE
Cercano del salario mínimo, no alcanza el salario ético.
Colombia – CICA
Ninguna y menos con los niveles de vida de un artista.
Approximately the level of a median income
Denmark – DAF
We don't have sufficient data to give an estimate
For the circus performers it is close to the Danish average income
Denmark – DSF
It is way lower.
Ecuador – FENARPE
Varia de acuerdo al caso. Descrito anteriormente.
Estonia – ENLIIT
It’s lower
Finland – FNL
The average income in Finland in communal sector is 3078 and in private sector about 3300.
France – SFA
Le salaire médian en France est de 20.544 € net par an.
Georgia – ICSTEU
It is about par with the median income.
80 Germany – GDBA
The median income in Germany was 2.702.40 Euro in 2010.
The average cost of living in Germany was for a 4-person-household 2.250 Euro in 2011.
The low wage barrier in 2010 was if a person earned less than 1.802 Euro brutto.
Greece – SEI
In pre-crisis times, actors’ minimum salary was considered poor, compared to other working areas. When the average income of a working
actor was about 6.000 euros, the monthly rent for a medium apartment was about 400 euros (4800 per year). Today, the actors' condition is
much poorer, given the fact that the cost of living is not significantly lower than before.
Hungary – SDS
It is almost the same as the median income.
Social Protection payment for a single adult is €188 per week so €500 for a week is not very good.
Japan – JAU
Less than a third
Kazakhstan – CWU
The average wages/salaries amount to 98,000 tenge (around €410).
Kyrgyzstan – CWU
The cost of living is on a steady rise. An average live performer’s earnings are about par with the median income in this country.
Latvia – LKDAF
It is less than median income in state financed sector (EUR 740)
Moldova – SICRM
The median income is €187.50 a month, the subsistence minimum is €85 a month.
Morocco – SMPT
Juste
Nepal – FAAN
Little more than median income and much less than cost of living
Average app € 21,000 net a year. Average actor earns a bit more (see above: € 24,000 net)
Lower
Norway – NSF
Lower than average
Norway – NoDa
It is more than a half less than the median income. Norway has high costs of living. It means that most dancers do other kind of work in
addition to performing work.
Panama – UNAP
Muy bajo
Paraguay – CEPATE
El 25% del costo de vida aproximadamente
Peru – SAIP
No hay relación
Poland – ZZAP
Average income
Portugal – STE
Median income is around 984€.
In the last 5 years, in Portugal, we lost more than 30% of our purchasing power.
Below the median income
Russia – RCWU
81 The minimum subsistence income of a working-age person was established at RUR 8,600 a month in Russia for the first semester of 2014
(about €200 at the exchange rate that prevailed then, and around €150 at the current exchange rate). There are no reliable estimates of
median income in Russia. Generally, the income of an average performer in live performance is estimated to be about par with the median
income in the region where s/he works on a long-term/permanent basis. The current inflation is unofficially estimated to reach 15 per cent
year-on-year (the official figure being around 9 per cent) which is a good indicator of the pressure that the cost of living has been exercising
on the live performers’ earnings.
Slovenia – GLOSA
Income is above average so individual consumption expenditure is satisfactory.
This is more than the basis wage in the country but way below par for professionals.
Sweden – TF
Bad
Cf. plus haut
Turkey – CASOD
A person on a minimum wage makes a yearly net 3.500 EUR in Turkey as of 2014. This amount is probably not enough for survival in
Istanbul for instance if you don't have other family members who have an income. In this context, the average amount a State Theatre
employee makes is a little over twice the minimum wage.
Ukraine – CWUU
There are no reliable estimates of median income in the Ukraine. Generally, the income of an average performer in live performance is
believed to be somewhat lower than the median income in the region where s/he works on a long-term/permanent basis. The Ukrainian
Ministry of Economy current has estimated the inflation accumulated over January-October 2014 to reach 19 per cent.
UK – Equity
In April 2013 median gross weekly earnings for full-time employees in the UK were £517. For the year ending 5 April 2013 median gross
annual earnings for full-time employees (who had been in the same job for at least 12 months) was £27,000. The 2013 Equity Membership
Survey found that 75.24% of respondents earned under £20,000, significantly less than the median average.
USA – AEA
Cost of living and median incomes vary widely state to state. However, the most recent data available (2012) averages median income at
approximately 38,736 Euros.
Uruguay – SUA
El salario mínimo nacional es de alrededor de 322 euros al mes. La central de trabajadores reclama un minimo de por lo menos dos veces y
media por encima.
18. What are the trends relating to cast sizes in your country?
Did not answer the question: Brazil – SATED/RJ; Hungary – SDS; Kazakhstan – CWU; Madagascar – AATM; Moldova – SICRM;
Netherlands – FNV KIEM; Slovenia – GLOSA; Sweden – TF; Turkey – AUT
Argentina – AAA
Si bien hay mucha actividad de comedias musicales con gran cantidad de actores, los espectáculos con menos de 6 actores son la
tendencia.
Australia – MEAA
In the subsidised sector, there has been downward pressure on cast sizes in general terms, when compared to previous decades.
Anecdotally, writers from time to time advise that their can be pressure to write for small casts.
No information
Azerbaijan – CWU
The staffing patterns have remained virtually unchanged.
Belarus – BSAG
The cast sizes appear to be stable.
De plus en plus réduite
Brazil – SATED/ES
No tenemos mucho mercado artístico
Brazil – SATED/MG
No está nada promisor
Cameroon – SCAS
En diminution.
Canada – CAEA
Productions are getting smaller. The number of shows in a season is getting smaller. This is true in opera as well but not true in ballet.
Canada – ACTRA
Diminishing
Chile – SIDARTE
Existe un sólo elenco estable teatral, en el país
Colombia – CICA
Elencos pequeños de máximo10 actores para que puedan circular. En especial 2 o 3 actores.
Reducing the number of employed actors and replacing them by those working on a short-term contract.
Denmark – DAF
Cast sizes are not really relevant for the areas that our members mainly operate in (except for musicals and dance theatre, but we do not
have sufficient data from these areas).
Denmark – DSF
They decrease
Ecuador – FENARPE
Promedio medio.
Estonia – ENLIIT
Stable
Finland – FNL
Productions are getting smaller and professionals are more and more replaced by amateur or semi-professionals.
The amount of long term contracts is going down.
There seem to be some kind of a trend of making musicals that are a bit too expensive and big.
France – SFA
La taille des distributions est de plus en plus basse et le nombre de représentations par spectacle produit ne cesse de se réduire.
83 Georgia – ICSTEU
Germany – GDBA
The public theatres reduce their ensembles because of cuts in public funding.
Commercial theatres reduce the number of cast-members as well. For example musical theatre productions have reduced cast even during
the runtime after a cast change.
Greece – SEI
The casts are constantly decreasing. Casts of 1 or 2 persons are very common. Even in National Theatres, casts rarely surpass 8-10
persons. However, large casts (e.g. 15-18 persons) are still common in some summertime touring productions (e.g. classical Greek drama).
Recently, there appeared a kind of large scale productions (about 2 or 3 of them per year), mainly with musical shows, with casts of 20-25
persons, but not all of them are actors; people are employed also as dancers and extras.
No difference
Japan – JAU
As there are so many unpaid actors on independent membership companies (but subsidised), the cast size is totally dependent on director's
expectation.
Kyrgyzstan – CWU
Latvia – LKDAF
No comment
Morocco – SMPT
Le demain est en plain extension du à l'accélération de la construction des lieux de la culture au Maroc
Nepal – FAAN
Over 100
Cast sizes trend lower and lower; most casts 2,3,or 4
Norway – NSF
There is a tendency that the public financed theatres also produce musicals with a large cast. But the amount of employees in the public
financed areas are stable.
Norway – NoDa
The living cost are increasing, mainly on the housing marked
Panama – UNAP
Mediana
Paraguay – CEPATE
4 ó 5 personas
Peru – SAIP
Sin chicos o pequeños
Poland – ZZAP
Positive
Portugal – STE
The trend is a drastic reduction. The majority of the subsidized companies (not public) have no longer a resident cast.
Stable
Russia – RCWU
The prevailing trend seems to be a downward one, 5 to 10 per cent a year.
Trend is to have fewer casts to keep cost lower in general.
Shrinking, shrinking! More free-Lance actors are employed. This is not a good development at all!
84 Elles diminuent
Turkey – CASOD
Cannot say that there is a significant change.
Ukraine – CWUU
The cast sizes appear to be more or less stable.
UK – Equity
As arts funding is reduced by both Arts Councils and local authorities there is an ever-greater pressure to reduce cast sizes.
USA – AEA
Producers will try to do smaller cast productions for economic reasons. As an overall trend, we would say they are decreasing.
Uruguay – SUA
Los elencos son de pequenos a medianos. Excepcionalmente se realizan espectáculos de gran formato.
19. What are the trends in relation to rehearsals in your country (e.g. paid/unpaid rehearsal time; adequate rehearsal time)? Do
you have example(s) of good practice in this field?
Did not answer the question: Georgia – ICSTEU
Argentina – AAA
Los ensayos son pagos y estipulados por el Convenio Colectivo de Trabajo
Australia – MEAA
In general terms, while there has not necessarily been reduction in rehearsal time in recent years, increasingly there is a push for more prior
learning undertaking by the artists ahead of rehearsal. This could result in shorter rehearsal periods if it continues. MEAA is seeking to limit
the extent of assumed prior learning in our current contract negotiations. Rehearsal time in professional theatre of all kinds in paid, though
at variable rates.
Usually this time is paid, but not in all productions (free and private or small productions, it is paid in the big theatres with collective
agreements).
Azerbaijan – CWU
No
Belarus – BSAG
The approach has not changed.
Normalement payé mais il y a une tendance de ne pas payer les répétition
Brazil – SATED/ES
La estimación media de ensay es de 2h/día durante cinco días a la semana y no son pagados
Brazil – SATED/MG
El sindicato indica un salario mínimo vigente el país por mes de ensayo (250,00 euros) + transporte y merendar.
Brazil – SATED/RJ
El tiempo de ensayo en pequeñas producciones no son pagos, pero en grandes producciones son.
Cameroon – SCAS
Les répétitions sont payées mais au tarif très bas.
Canada – CAEA
In theatre, rehearsal time is down from 4 weeks to 2.5 weeks in some cases. Very small-scale production likely does unpaid rehearsal
without our permission or knowledge. Most people complain of inadequate rehearsal time.
Canada – ACTRA
Inadequate rehearsal time overall, however it is largely paid in regional not for profit theatre
Chile – SIDARTE
Mayoritariamente No pago, excepto que esté financiado por Fondos públicos concursables.
Colombia – CICA
No siempre se pagan los ensayos. El tiempo de ensayos no siempre es el apropiado.
Rehearsal time is specified in collective agreements. Concerning other contracts then the permanent ones, the rehearsal time is not included
in contracts.
Denmark – DAF
Rehearsals for live music gigs are generally not paid, whereas rehearsals for live music for theatre plays and dance theatre are normally
paid, as well as the actors. In the circus sector rehearsal is not paid.
Denmark – DSF
The have decreased: from 8 weeks rehearsals to 6.
Ecuador – FENARPE
Tiene tendencia a crecer.
Estonia – ENLIIT
Stable
Finland – FNL
86 Rehearsal times have been getting a bit shorter and more and more time is use in all kinds of technical things and less time is used in actual
acting rehearsals. More rehearsals have to be done on your own, even in summer holidays.
In small groups rehearsals have always been paid with stipendiums or less than in collective agreements.
France – SFA
Légalement les répétitions doivent être payées dans tous les secteurs d’activités. La convention collective nationale du spectacle vivant
subventionné prévoit même des périodes minimales de répétition pour la création d'un spectacle (ex 4 semaines minimum pour un
spectacle de théâtre). La convention collective nationale du spectacle vivant privé prévoit à l'inverse dans certains cas un nombre minimum
de représentations. Si encore trop souvent de petites productions ont recours aux répétitions non payées, on peut dire que la situation s'est
nettement améliorée ces dernières années grâce notamment aux contrôles et à une information pédagogique constante de la part des
syndicats d'artistes et d'employeurs.
Germany – GDBA
Subsidised theatres have paid rehearsals of around 6 weeks.
Big commercial theatres have paid rehearsals of variable rehearsing times.
Often smaller commercial theatres or fringe productions have unpaid rehearsals
Greece – SEI
When collective agreements existed, there were conditions defining rehearsal time (minimum 45 rehearsals) and payment; rehearsals were
supposed to be paid from day 1, but the general trend was to have only the last month paid. Today, as a general trend, rehearsals are
seldom paid. However, in National Theatres they are paid from day 1.
As for the rehearsal time, it is generally adequate. It is 5 hours per day, and it may last between 45 days to 3 months or even longer.
Hungary – SDS
It is changing. The rehearsals are mostly paid, but there are other examples mostly by small-scale productions.
No change. Rehearsals are still paid.
Japan – JAU
There is no convention to pay for rehearsal period. In 2012, the Japan Arts Council introduced the payment for rehearsal time for the first
time. However, it is quite difficult to define the "adequate" price and time.
Kazakhstan – CWU
Remuneration received by performers in the live performance sector covers both rehearsals and performances.
Kyrgyzstan – CWU
Latvia – LKDAF
Paid rehearsal time
Madagascar – AATM
Répétitions non payées durant deux et trois mois avant chaque représentation théâtrale, 6 jours/semaine
Moldova – SICRM
Rehearsal time is paid, and the duration of rehearsal period is generally considered to be adequate.
Morocco – SMPT
En général les répétition son payées
Less rehearsals (are being paid)
Rehearsal periods also trend lower; 3 weeks would be average. Often unpaid, as most productions are profit share.
Nepal – FAAN
Unpaid rehearsal
Norway – NSF
Rehearsal is usually for 8 weeks and paid.
Norway – NoDa
Rehearsal time is paid. We see that in the small, non-commercial groups, the choreographer intends to split the rehearsal time into smaller
periods, like one week here, and one week there. This is to minimize the rehearsal costs.
Panama – UNAP
Las tendencias son sin fines de lucro
87 Paraguay – CEPATE
Los ensayos no son pagos. El único fondo nacional para los artistas no contempla pago para los ensayos. Normalmente se ensaya uno o
dos meses
Peru – SAIP
Son muy pocas las compañías que pagan por los ensayos, la mayoría no lo hace.
Poland – ZZAP
Trends are positive (more and more paid rehearsals)
Portugal – STE
Rehearsals are becoming shorter and shorter, less and less adequate.
If you are under a contract (Permanent, seasonal or per show) you get paid. Otherwise, no.
No
Russia – RCWU
Slovenia – GLOSA
Rehearsal time is included in and paid by employment contract.
Self-employed workers have to bargain for this benefit by each contract.
Rehearsals are 4 – 6 weeks depending on the production; al rehearsals are paid at 60% of the weekly performance fee. We do not have
standards or good practice in this field.
Sweden – TF
Paid rehearsal based on collective agreement, rehearsal time is getting shorter
In subsidized theatre (the larger ones) rehearsals are paid. The Commercial touring companies often do not pay rehearsals but pay quite
decent wages.
Example: small theatre: 6 weeks of rehearsals (about av. 5 hours a day, 5 days a week No pay for rehearsal but for 20 Performances they
pay Swiss Francs 20'000.-- (Euros 16'666.-) / or a Commercial production 5 weeks of rehearsal (Euro total 800.-) then euros 300.- per
Performance = 120 Performances in 4 months (= total 5 months, 1 week = Euros 36'800.--) This is for a female lead, with a very successful
Company - not very common. There is one theatre in Switzerland that has a rehearsal time of 3 weeks (a summer theatre playing from JuneSeptember.
La durée du contrat a tendance à diminuer donc le temps de répétition aussi. Souvent une partie des répétitions n'est pas payée.
Turkey – AUT
Unpaid rehearsal time
Turkey – CASOD
Paid rehearsal is not a common practice in Turkey. Most actor working in commercial and independent productions usually work without
contracts. They may receive a fee per performance. And the State - City Theatre employees get a monthly salary, which includes all their
work including rehearsals.
We cannot spot any specific good practice in this field.
Ukraine – CWUU
UK - Equity
Paid rehearsal time is a feature of Equity's collective agreements. Opera singers and freelance performers often rehearse unpaid.
USA – AEA
We do not allow unpaid rehearsal time under our contracts, but certainly Producers will rehearse as little as is possible before beginning
performances. They may, and usually do, have multiple "preview" performances before the official opening.
Uruguay – SUA
El ensayo, salvo excepciones, no suele pagarse.
20. What is your union’s position regarding the use of amateur performers within professional productions and do you see any
trend in this respect? Do you have example(s) of good practice in this field?
Did not answer the question: Azerbaijan – CWU; Brazil – SATED/RJ; Georgia – ICSTEU; Paraguay – CEPATE
Argentina – AAA
Los actores están protegidos por el Convenio Colectivo de Trabajo. Esto contempla sólo trabajo profesional
Australia – MEAA
In terms of professional (especially subsidised) theatre, we would expect proper consultation with Equity through the National Performers
Committee. Such circumstances would require a STRONG case provided by the applicant company to obtain Equity approval.
In Austria we face this problem, but the Union is against this trend- we offer the paritiätische Bühnenprüfung to grant all Performers a final
diploma of their education as Performers (with private teachers or private schools- the paritätische Bühnenprüfungskommission was
established by the theatre employer associations and the Union many years ago. The other Performers who are educated in the public
performing School (Öffentlichkeitsrecht) are professional performers.
Belarus – BSAG
BSAG is not aware of any cases of such use.
Non
Brazil – SATED/ES
Usualmente, el 20% son aficionados y el 80% son profesionales
Brazil – SATED/MG
No se pude por la ley, todos tienen que estar habilitados en el ministerio del trabajo
Cameroon – SCAS
Notre syndicat est contre le recours aux travailleurs amateurs.
Canada – CAEA
We have several policies which allow our members to participate in bona fide amateur productions but we are not seeing a lot of amateurs
being cast in professional productions. We are seeing an increase in multi-disciplinary work and therefore the use of dancers or musicians or
other artists who would not normally make their career in the mainstream theatre community.
Canada – ACTRA
Not applicable to ACTRA
Chile – SIDARTE
Existe muy poco aficionado, si hablamos de actores de oficio con gran experiencia en el teatro pero sin estudio formales.
Colombia – CICA
Se conceden oportunidades eventualmente.
We respect amateurs, they are sometimes part of the professional productions and our members work closely with the amateur companies
in the couching and advising them
Denmark – DAF
We don’t experience this in the live areas that our members mainly operate in (music, circus and musicals).
Denmark – DSF
We have collecting agreements in a lot of theatres that covers all if they do act.
Ecuador – FENARPE
La Federación se encuentra estimulando al artista aficionado a través de seminarios de capacitación, con el objeto de acrecentar sus
conocimientos y convertirlo en un profesional calificado.
Estonia – ENLIIT
We do not have a problem with that.
Finland – FNL
If amateurs are used in small parts it is more acceptable, especially in small city theatres.
The problem is growing: sometimes it is difficult to define a production as a professional production.
France – SFA
Le recours à des artistes interprètes amateurs dans une production professionnelle est possible à la condition qu’ils soient payés comme
89 les professionnels. Toute autre pratique est contraire à la loi et il s’agit là de travail dissimulé passible d’une condamnation au tribunal. C’est
d’ailleurs la position de notre syndicat qui considère que l’entrée dans le métier peut se faire sous différentes formes. Le Ministère de la
culture prépare cependant, dans une loi pour la création artistique, des dispositions permettant à des productions professionnelles d’avoir
recours à des bénévoles. Ce projet nous inquiète au plus haut point et le SFA mène campagne contre une telle éventualité.
Germany – GDBA
GDBA is absolutely against using amateurs in professional productions in order to lower costs. There are acceptable exceptions, for
example if an opera needs a children choir or an extra-choir for special productions. There is an increasing tendency to use amateurs in
order to save costs in all fields. The tendency is stronger the smaller the venue or production gets.
There is also a trend that professional subsidised theatres establish civic theatre projects, but that is done out of non-financial reasons and
no professional jobs are being demolished.
Greece – SEI
There is no prerequisite to characterize an actor as “professional”. Thirty years before, a drama school diploma was required, and
candidates were judged by a special committee, and granted the right to be “professional actors”, but this practice has long been abolished.
There are only actors members of the Union (after 200 days of theatrical occupation) and actors non-members, either not fulfilling the
requirements or not wanting to join the Union. In the past, the Union and some employers had agreed that, in a cast, the 80% should be
Union members and up to 20% non-members. But this was not always kept.
In general, the condition has not changed during the last years. The vast majority of the actors have a drama-school diploma, but they
become professionals after some working experience.
Hungary – SDS
We have no influence in this case. The cast is the privilege of the director.
We do not condone this. All actors in professional productions should be paid. We see an increase in the number of amateurs for crowd
scenes and bit parts.
Japan – JAU
There is no boundary between professionals and amateurs.
Kazakhstan – CWU
Amateur performers practically never take part in professional productions.
Kyrgyzstan – CWU
Amateur performers from the so-called “people’s theatres” used to join professional theatre companies, albeit rarely; nowadays this doesn’t
seem to happen at all.
Latvia – LKDAF
No comment
Madagascar – AATM
La création du Syndicat des Artistes Interprètes Malagasy –SAIM -, dont notre association l’AATM, a été le précurseur, tarde naître à
cause de la situation politique qui perdure et qui a classé Madagascar parmi les pays les plus pauvres du monde. Devant cette situation les
artistes interprètes n’osent pas agir.
Moldova – SICRM
The Union does not deal with or influence casting decisions in any way.
Morocco – SMPT
Il a de la place pour tout le monde au Maroc
In the last collective labour agreement we had a paragraph a special interest for reducing the use of ‘students’ and other for free working
people in the theatre.
We resist the trend but have little power to prevent it. No good examples of good practice.
Nepal – FAAN
They need to get more remuneration and social security
Norway – NSF
There is a tendency to use actor students in performances that are under collective agreements without meeting the terms. It’s not
acceptable to use amateur without payment.
Norway – NoDa
We have a lot of trouble with education institutions that pushes their students into professional productions, mainly musicals, but also in TVproductions.
This practice is about to ruined the marked for show- dancers in Norway.
90 You can’t use an amateur/person with no dance skills in dance productions.
But you may want to use dancers as “statist”, a performer without skills who does simple movements, and there is a of
dancers, the theatres wants the dancers very much, but will only pay “statist” fees.
pressure for
Panama – UNAP
Solo protege al artista en lo que se refiere a la parte legal
Peru – SAIP
Diríamos que un 80% de artistas empleados son aficionados, no han pisado una academia o una escuela, no tenemos ejemplos de buenas
practicas. Creemos que con la presentación de nuestros convenios colectivos estas practicas deben de cambiar y el artista será mejor
pagado.
Poland – ZZAP
Amateurs are thin examples
Portugal – STE
Union’s position is against the use of amateurs instead of professionals. And it is growing fast mainly in audiovisual sector (Films and TV). It
is a question of money-The less professional, the less you pay, and on the other hand among the amateurs you can choose the most good
looking!
No examples
Russia – RCWU
No definite trend has been perceived. RCWU does not consider it to be a significant problem in the Russian theatre sector and believes that
the use of amateur performers in professional productions is the prerogative of the artistic director in charge of the production.
Slovenia – GLOSA
Our union supports activities of Slovenian Public Fund for Cultural Activities.
We have limited amateur performers being cast. We do not have standards of good practice in this field.
Sweden – TF
Amateurs appear very seldom; when extras are used it is announced in the programme
Well, some directors think they are Fellini and love to take People in from the street. One production got rather bad critics last year. Luckily
there are many Amateur groups in Switzerland to Keep These People occupied. Amateur Performers do not fall under the collective
Agreements. Politically it would be problematic, since the theatres are highly subsidized. There are quite a few summer productions that
include amateurs for smaller parts. This is a traditional-local Thing These productions could never be produced with only professionals (to
expensive)
Cf. texte de notre CCT
II. Participation des élèves et stagiaires aux distributions
L’employeur n’engagera, sauf cas exceptionnels, que des comédiens qui répondent à la définition du comédien professionnel (voir annexe 6
– Définition du comédien professionnel).
Les distributions ne doivent pas comporter plus de 25% de stagiaires et d’élèves (voir la définition à l’annexe 6 – Définition du comédien
professionnel) sur l’ensemble de la saison, sauf cas exceptionnels.
Turkey – AUT
No, we don’t know about this trend.
Turkey – CASOD
Since there still are not set standards producers comply with regarding professional qualification, when they employ actors, it is not
uncommon to see amateur performers in professional productions, which usually are singers, or some kind of “celebrity” who would attract
the attention of the audience.
We cannot spot any specific good practice in this field.
Ukraine – CWUU
No definite trend has been perceived. The Union does not consider it to be a significant problem in the Ukrainian theatre sector and believes
that the use of amateur performers in professional productions is the prerogative of the artistic director in charge of the production.
UK – Equity
Equity has guidelines for the use of youth, community and student performers in professional productions, sanctioned by our governing
Council. The trend is towards more involvement of these kinds of amateur performers in the professional industry. Equity does have
examples of good practice such as the agreement with the RSC to pay the amateur performers in a Midsummer Night’s Dream the National
Minimum Wage.
91 USA – AEA
Certain of our not-for-profit agreements allow for non-members to work, not under our contracts, alongside our members. Such use is
currently regulated as to numbers allowed, based on numbers of actors hired under Equity contracts.
Uruguay – SUA
Promovemos la formalización del trabajo a través del cumplimiento de la ley del artista y oficios conexos, que ayudamos a concretar.
21. Do your members face pressures to perform for very small pay or even for free?
Organisation
Argentina – AAA
Australia – MEAA
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATDD/ES
Brazil – SATED/MG
Yes
X
X
X
X
X
X
X
Canada – CAEA
X
Canada – ACTRA
X
Chile – SIDARTE
X
Colombia – CICA
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
X
X
X
X
Estonia – ENLIIT
Finland – FNL
France – SFA
X
X
X
Georgia – ICSTEU
Germany – GDBA
X
Dans le film surtout
Todavía aún aparece quienes contratan sin paga ninguna y para el espanto total ,
hay quienes aceptan
Nous voulons harmoniser les bas salaires par des minima au dessus du SMIG, le
plus hauts salaires sont négociables.
Yes, small scale, member-generated production has increased and with it a desire
from the members to work without the normal terms and conditions of our
agreements. The proliferation of “fringe” festivals has also put pressure on CAEA to
allow our members to work for a share of the box office receipts generated by the
production with no guaranteed fees or payment for rehearsals. We have responded
by creating three policies that will allow our members to work in this kind of theatre
(see INDIE 2.0, Collective and Festival Waiver sent by email) .We are not seeing
the same trends in opera or all. Dance (other than ballet) operates on very little
money but there is usually some small guarantee.
In small productions there is a pressure to perform for very small pay or even for
free, citing small budgets
Más bien, nuestros miembros realizan teatro alternándolos con otros trabajos para
poder vivir, mayoritariamente clases.
X
Rarely
La falta de apoyo por parte de los gobiernos autónomos descentralizados impide el
progreso del artista.
All kinds of company gigs are good promotion...
Évidemment la loi et les conventions collectives n’empêchent pas certains
employeurs d’essayer de les violer. Heureusement la loi permet aux salariés
d’intervenir après coup auprès des tribunaux pour faire valoir leurs droits a
posteriori.
X
Because theatres get a huge number of applications when they call for auditions
the pressure to accept low pay is big. There is also a huge number of graduates
especially from private schools that are tightening this development.
This is something common nowadays.
Mostly by fringe productions
This is prevalent with all actors and especially so with newly qualified students
X
X
X
X
X
X
X
X
Moldova – SICRM
Morocco – SMPT
X
X
X
Nepal – FAAN
X
Specify
Los salarios mínimos están estipulados en el Convenio Colectivo de Trabajo
This is the case across all of creative industries that MEAA broadly represents.
Rather in the film sector
X
X
Brazil – SATED/RJ
Cameroon – SCAS
Greece – SEI
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
No
X
Pressions politiques. Les artistes interprètes sont obligés d'accepter les
rémunérations très limitées à cause de la pauvreté. Le pouvoir d'achat de la
population est très bas. Dans le domaine théâtral, il n'existe plus de salle de théâtre
dans la capitale à cause du délabrement de l'unique salle de théâtre " Le Théâtre
Municipal de Tananarive sis à Isotry.où le public de la capitale à l'habitude
d'assister à des représentation théâtrales au moins une fois / semaine. La
réhabilitation de cette salle n'est pas une priorité au dirigeant actuel malgré les
différentes pressions faites par les fans du théâtre ainsi que la FIA.
X
Selon les cas et la situation de l'artiste
This pressure was always there at some parts (periphery), but it is spreading. At
first by having a formal contract and informal practice, with more weeks work for the
same total amount. When the moment of the première comes nearer and not all the
funding is there, the pressure to accept less for the good of the production and the
family is there.
This is an increasing pressure and, again, we do our best to resist it but many
performers anxious just to work, and do so rather than not work.
93 Norway – NSF
X
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
X
X
Poland – ZZAP
Portugal – STE
X
X
X
X
Russia – RCWU
Slovenia – GLOSA
X
Sweden – TF
X
X
Turkey – AUT
Turkey - CASOD
X
X
X
Ukraine – CWUU
UK - Equity
X
USA – AEA
X
Uruguay – SUA
X
Sometimes in local performances and in productions outside the collective
agreement area.
Pressure for very small pay is common in the TV- and commercial marked.
Existe una falta de respeto a los artista no le dan el privilegio a lo nacional
Aceptan pagas pequeñas muchas veces pero porque quieren
Hay mucha desocupación, pocas producciones, si a esto le sumamos la
improvisación la cosa se pone mas difícil.
It is the case of live performing, as there is no money to pay. But mostly it is the
case of audiovisual, where you can find performers earning fortunes beside
performers who only get the median income.
X
X
X
A lot of self-employed artists create and live beneath at-risk-of-poverty threshold.
More and more people are looking for collaborations where all the parties involved
take the risk so there are nominal fees or sometimes no fees at all
Very small pay yes. For instance some small theatres in Basel are famous for
paying lousily. This means Euros 125.- per Performance. Of course many members
will not work for this amount. For free I have never heard of.
Unfortunately this is the common practice for all actors except the ones employed
by State or City Theatres.
X
Low and No Pay is a real issue for performers in the UK's live performance sector,
so much so that Equity has appointed a Low Pay No Pay Organiser to tackle this
increasing problem. In the 2013 Equity Membership Survey 46.32% of respondents
had worked for no pay in the last 12 months and of those who had, 46.69% had
worked for no pay in theatre.
Our members are often asked to work under "Code" agreements, which offer small
stipends or no compensation, for the "opportunity". Under our contracts, there are
rules requiring minimum salaries and benefits be paid.
Se los convoca a trabajar sin remuneración o con paga simbólica frecuentemente.
22. How has your union responded to this?
Did not answer the question: Argentina – AAA; Azerbaijan – CWU; Belarus – BSAG; Brazil – SATED/RJ; Canada – ACTRA;
Colombia – CICA; Georgia – ICSTEU; Japan – JAU; Kazakhstan – CWU; Kyrgyzstan – CWU; Latvia – LKDAF; Moldova – SICRM;
Paraguay – CEPATE; Poland – ZZAP; Russia – RCWU; Ukraine – CWUU
Australia – MEAA
We’ve engaged with the unpaid sector through the Equity Co-Operative Agreement, which ensures minimum standards in some conditions,
and details profit-share arrangements. This agreement exists between the producer/s and all artists including performers, designers, crew
and others per the demands of the production.
With Information to our performer members, and negotiations
On lutte contre
Brazil – SATED/ES
El sector jurídico entra en contacto con el productor del espectáculo
Brazil – SATED/MG
Con rigor. Es una inmoralidad explotar el trabajo sin pago
Cameroon – SCAS
Notre syndicat est dans la logique de la négociation car le travail étant précaire, il faut créer un climat de détente avec le soutien des pouvoir
publics afin de parfaire l’obtention d’une convention collective.
Canada – CAEA
Please see policies sent by email.
Chile – SIDARTE
El Sindicato hoy es una organización referente en esta materia, intercedemos frente a cualquier presión a nuestros afiliados, hemos
intercedido para que los Fondos del estado consideren contrato laboral y actualmente encabezamos la creación de una Ley de Artes
Escénicas que crea un Registro laboral de artes escénicas ( en vivo) que ya cuanta con el respaldo parlamentario y del ejecutivo para su
discusión en el Congreso, esta ley entregará un diseño al sector y enfrentará uno de los problemas más graves que aquejan a Chile la
centralización en materia regional.
We advise our members not to work under such conditions.
Denmark – DAF
We try to create awareness that performers should be fairly rewarded.
Denmark – DSF
We talk to the members, the employers and have standard contracts that they can use.
Ecuador – FENARPE
Ha elevado su voz de protesta y mantiene la esperanza que pronto se respalde por parte del gobierno al artista / interprete.
Estonia – ENLIIT
Trying to resist it
Finland – FNL
Giving advices, informing actors and so on
France – SFA
Dès qu’il a connaissance de telles pratiques (travail dissimulé, rémunérations en deçà des salaires minima conventionnels) le SFA dénonce
ces situations auprès de l’Inspection du Travail et de l’URSSAF (administration du recouvrement des cotisations de sécurité sociale). Cette
pratique est généralement efficace la sécurité sociale souhaitant recouvrer les cotisations manquantes.
Le SFA intervient également aux côtés de ses adhérents pour les défendre auprès des tribunaux concernés. Il s’agit là d’un choix individuel
de l’adhérent.
Germany – GDBA
We cannot prohibit our members doing these jobs. We try to raise awareness first of all. Very often low / no pay jobs fulfil the corpus delicti
of false self-employment, which we try to fight with legal advice and legal protection. But in general it is a questions to which we haven´t
found a satisfactory reply.
Greece – SEI
When collective agreements existed, we resisted such phenomena and sue the employers in court. But the Union had the right to intervene
95 only if the employee had filed a complain.
Today, we can act likewise only when a contract is broken or not kept, and always only if the actor complains to the Union for the situation.
But since there is no collective agreement, we cannot force our conditions if the actor and the producer have agreed differently.
Hungary – SDS
We cannot do anything in this case.
We have begun to organise the students.
Madagascar – AATM
Notre Association a été reçue par La nouvelle Ministre de l’Artisanat de la Culture et du Patrimoine qui nous a assurée de voir de près la
situation des artistes à Madagascar, mais jusqu’à aujourd’hui rien n’a changé.
Morocco – SMPT
Notre syndicat intervient à la demande de l’artiste et essaye de renforcer la réglementation
It actually doesn’t happen a lot that member get in touch with us at that point.
The contact moment is normally later when payments stop.
Or bankruptcy is getting nearer etc.
We advise members not to work for free and always to get a written contract with terms, conditions and protections made clear.
Nepal – FAAN
Negotiating with the employers and also advocating to the government to bring appropriate policy framework
Norway – NSF
We recommend our members to follow usual terms according to our agreements as far as they are applicable.
Norway – NoDa
We try to send the producers notifications by our lawyer, telling them what the average rates are. And we tell the dancers to negotiate, but
they are very afraid to loose their jobs.
Panama – UNAP
Ha hecho lo que puede ya que también tiene limitaciones
Peru – SAIP
Estamos tratando de autogestionarios empleo, hemos creado la secretaria de trabajo, que se encargara de mitigar o contrarrestar esta
problemática con la creación de elencos que salgan de giras y hacer temporadas y por que no la creación de una productora propia de la
comunidad.
Portugal – STE
We denounce the situations, but, as there are no collective agreements, there is very little we can do further.
Pressure to have sectoral collective agreement
Slovenia – GLOSA
We demand equal valuation of working conditions for both, employees and self-employed artists.
We are currently revising the contract that we have been using for live performances, this will still have to be accepted by the various
producers / players in this sector.
Sweden – TF
Protesting, meetings with employees
We have contacted a politician in Basel and we are going to make a big stink (please don’t publish that word!). We stand some Change,
when the theatre in question receives public Money (The Taxpayers Money!)
Nous sommes relativement démunis car il n’y a pas de salaire minimum en CH et nos membres acceptent (à peu près tout).
Turkey – AUT
Provides payment of the fee
Turkey – CASOD
96 We are working against it and trying to create awareness in this situation.
UK – Equity
Equity has appointed a full time member of staff to tackle the problem of Low Pay No Pay. We have developed a contract for the fringe
based on the NMW and are developing guidance for partnerships, the legal entity for profit shares. We work to ensure that as many
producers as possible pay at least the National Minimum Wage. We have taken legal action against employers who do not fulfil their
statutory obligations to pay the NMW and we undertake campaigning and lobbying work around NMW payment and enforcement.
USA – AEA
We are in the process of reviewing the use of Codes by Producers and our members, but our members are still asking that we maintain such
avenues for production.
Uruguay – SUA
El sindicato recomienda el afiliado no trabajar sin paga y sin contrato. Intentamos fomentar el dialogo con las patronales hacia el
reconocimiento de la actividad artística como un trabajo que debe ser remunerado. Publicamos artículos sindicales sobre condiciones de
empleo. Comunicados de prensa.
97 COLLECTIVE AGREEMENTS IN LIVE PERFORMANCE
23. Do employers’ organisations exist in your country?
Public sector employers
Organisation
Argentina – AAA
Australia – MEAA
Azerbajian – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
Hungary – SDS
Ireland - SIPTU / IE
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NSF
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Russia – RCWU
Slovenia - GLOSA
Sweden – TF
Switzerland - SSRS
Turkey – AUT
Turkey – CASOD
Ukraine – CWUU
UK – Equity
USA – AEA
Uruguay – SUA
Yes
No
X
X
It exists but not in the LP
sector
X
sector
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
Private sector employers
Yes
No
X
X
X
X
sector
sector
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
Yes, in other sectors
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
Russia – RCWU
They do exist in other sectors, however. As for the cultural sector and other predominantly publicly funded sectors such as education and
public health, the respective line ministries have traditionally negotiated nationwide agreements with the sectoral Unions (see the reply to
Q.26 below).
98 Ukraine – CWUU
They do exist in other sectors, however. As for the cultural sector and other predominantly publicly funded sectors such as education and
public health, the respective line ministries have traditionally negotiated nationwide agreements with the sectorial Unions (see the reply to
Q.26 below).
24. Is your union able to negotiate with such organisations?
Organisation
Argentina – AAA
Australia – MEAA
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NSF
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Russia – RCWU
Slovenia – GLOSA
Sweden – TF
Turkey – AUT
Turkey – CASOD
Ukraine – CWUU
UK – Equity
USA – AEA
Uruguay – SUA
Yes
X
X
X
No
We don’t have employers organisation
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
With small
success
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
25. Do you have collective agreements?
Organisation
Yes
X
X
X
X
Argentina – AAA
Australia – MEAA
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Czech Republic - HA
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NSF
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Romania – FAIR-Media-Sind
Russia – RCWU
Slovenia – GLOSA
South Africa - SAGA
Sweden – TF
Turkey – AUT
Turkey – CASOD
Ukraine – CWUU
UK – Equity
USA – AEA
Uruguay – SUA
No
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
26. Please list the collective agreements that your union / organization holds in the area of live performance. Do these agreements
cover the whole sector, or do you negotiate with each employer separately or with individual workplaces?
Did not answer this question: Azerbaijan – CWU; Brazil – SATED/ES; Chile – SIDARTE; Cameroon – SCAS; Colombia – CICA;
Georgia – ICSTEU; Greece – SEI; Japan – JAU; Madagascar – AATM; Morocco – SMPT; Nepal – FAAN; Peru – SAIP; Panama –
UNAP; Paraguay – CEPATE; Portugal – STE; Romania – FAIR-MediaSind; South Africa – SAGA; Turkey – AUT; Turkey – CASOD;
Uruguay – SUA
Argentina – AAA
Convenio Colectivo de Trabajo Teatro N° 307/73 . Este convenio cubre todo el sector.
Australia – MEAA
Performers Collective Agreement (PCA) Commercial Theatre - negotiated on an industry-wide basis
Performers Collective Agreement (PCA) Subsidised Theatre - negotiated on an industry-wide basis
Performers Collective Agreement (PCA) Disney Theatrical Productions - negotiated directly with Disney Theatrical
Equity Co-op Agreement - for use in an independent unpaid/profit-share environment
Village Roadshow Theme Parks - MEAA Performers Agreement - covering performers at Movieworld and other Gold Coast theme parks
Australian Ballet Dancers' Agreement - negotiated directly with the Australian Ballet
Western Australian Ballet Agreement - negotiated directly with the Western Australian Ballet
Chunky Move Certified Agreement - negotiated directly with Chunky Move (Chuna contemporary dance company)
Live Performance Award - established base minimum conditions and pay rates. Set/varied by the Fair Work Commission, established under
national legislation
Opera Australia Performers and Music Staff Enterprise Agreement - negotiated with Opera Australia
Sydney Dance Entrprise Bargaining Agreement - negotiate with Sydney Dance Company
Collective Agreements for dancers, choir, administrative employees of the federal theatres in Austria (Staatsoper, Volksoper, Burgtheater)
Collective Agreement for the Vienna private theatres (Volkstheater, Theater in der Josefstadt, Theater der Jugend and for the soloists of the
Vienna federal theatres)
Collective Agreement of the Vereingten Bühnen Wien- field musical theatres
Collective Agreement of the theatres in the federal countries of Austria
Belarus – BSAG
BSAG does not negotiate agreements in the live performance sector.
On a des conventions dans le domaine théâtre subventionné et de la musique globale, l'audiovisuel et le film
Brazil – SATED/MG
Estamos en negociación para un acuerdo colectivo pero hasta el momento tenemos varios acuerdos por área. Por ejemplo, con la
compañía de Danza Primer acto, con la productora Asas, con una organización que presenta performances, etc.
Brazil – SATED/RJ
No el acuerdo cubre todo el sector
Canada – CAEA
There is an association of theatres (which represents approx. 140 theatres across the country) and an association of 6 regional opera
producers. Other agreements are negotiated with individual large engagers. Additionally, we have 3 agreements with the Federal
government for three different government departments who engage our members on an occasional basis for special events only.
1) Canadian Theatre Agreement (CTA) – negotiated with the Professional Association of Canadian Theatres (PACT) representing approx.
140 theatres
2) Stratford Festival Addendum to the CTA
3) National Ballet of Canada
4) Alberta Ballet
5) Les Grands Ballets Canadiens
6) Royal Winnipeg Ballet
7) Canadian Opera Company
8) Vancouver Opera
9) Opera Agreement – negotiated with 6 regional opera companies
10) Banff Centre for the Arts Agreement
11) National Arts Centre Music Department Agreement (under SOA legislation)
12) National Arts Centre Special Events Agreement (under SOA legislation)
13) National Capital Commission Events Agreement (under SOA legislation)
CAEA also has a number of policies (that are not negotiated with any engagers) for small-scale productions, which an engager must sign to
if they wish to engage our members. See answer to QU: 28 below.
102 Canada – ACTRA
None
We have separate, but very similar, collective agreements with most of the publicly owned companies.
Denmark – DAF
Generally, music gigs are not covered by collective agreements. There is a general agreement between bookers and the employers
association. This agreement covers the basic principles concerning the employment but does not cover wages. Our union is currently not a
party to the agreement but has contributed to the drafting.
When employed in traditional or dance theatre our members will generally be covered by the collective agreements negotiated by the Danish
Actors' Association.
Furthermore, we have a collective agreement with the major circus in Denmark (not the whole sector).
Denmark – DSF
We have at the national theatres and for the small-subsidized theatres
Ecuador – FENARPE
Se mantiene convenios con empresas privadas con el afán de crear a nivel nacional una escuela de capacitación.
Estonia – ENLIIT
Collective agreements with Association of Performing Arts Institutions and National Broadcasting
Finland – FNL
We have two collective agreements for theatres and they cover all professional theatres.
We have two agreements because 11 theatres are still purely communal. Others city theatres are owned by communs.
But our collective agreements cover purely private and commercial theatres as well.
France – SFA
Deux conventions collectives nationales existent pour les secteurs subventionnés et privés. Seuls les 7 théâtres nationaux ne sont pas
couverts par la convention collective du spectacle vivant subventionné. Il existe cependant dans ces entreprises des accords spécifiques.
Globalement on peut dire, qu'en dehors de ces 7 théâtres, tous les artistes interprètes sont couverts par une convention collective dans le
spectacle vivant. Depuis 2011 la loi rend obligatoire l’application de ces conventions collectives aux employeurs occasionnels et aux
entreprises dont l'activité principale n'est pas le spectacle vivant mais qui emploient régulièrement des artistes (ex. mairies, Hôtels-cafésrestaurants...)
Germany – GDBA
Normalvertrag Bühne (NV Bühne): covers all artistic employees (all performers, artistic-technical staff like make-up artists or theatrepainters, dramatic advisors, assistant directors, theatre educators and others) except musicians and guest performers at theatres that are
member with the employer-organisation Deutscher Bühnenverein. Most public subsidised theatres (the German Stadttheater) and some
private theatres are member with that employer organization.
Many public subsidised theatres in East-Germany work under so called house-collective-agreements (around 22). Because of the economic
situation in many East-German areas with a declining population the relatively big theatres in that area are a huge financial expense factor.
In order to keep all the departments and most jobs, the staff in these theatres agreed that the unions and the employers’ organization
Deutscher Bühnenverein negotiate a house-contract in which the staff agrees to work for reduced wages. The reduced wages though fall
never below the minimum wage set in the collective agreement NV Bühne. The reduction concerns very often reduced holiday pay or
Christmas bonus and often is compensated by extra-days-off.
In addition the GDBA together with the employers organization Deutscher Bühnenverein signed in 1948 a collective agreement in order to
install an arbitration court for theatre. Since then labour disputes are not being dealt at the normal labour courts but at the
Bühnenschiedsgerichte (stage-arbitration-court). There are two levels of jurisdiction, after that the case is being transferred to higher
"normal" labour courts. In the stage-arbitration-courts (there are 6 regional stage-arbitration-courts and one supreme-stage-arbitration-court
in the second level) the judge gets counselling in the special circumstances of the work-field theatre by two honory assessors of the GDBA
and two of the Deutscher Bünhenverein.
Hungary – SDS
At individual workplaces negotiate the local union with their employer
We negotiate separately with each employer
Kazakhstan – CWU
The Culture, Sports and Media Workers’ Union (CSMWU) has negotiated a sectorial agreement with the Ministry of Culture and Sports. Its
provisions serve as a “guaranteed minimum” for collective agreements that CSMWU locals in individual theatre companies negotiate with
the management on behalf of the staff.
Kyrgyzstan – CWU
103 The Cultural Workers’ Union (CWU) has negotiated a sectorial agreement with the Ministry of Culture. Its provisions serve as a “guaranteed
minimum” for local collective agreements that CWU locals in individual theatre companies negotiate with the management on behalf of the
staff.
Latvia – LKDAF
We negotiate with each employer separately
Moldova – SICRM
1) Sectorial agreement with the Ministry of Culture
2) Local agreements with the management of individual theatre companies
Theatre companies
Dance companies
(This year combined as a collective labour agreement for performance sector)
In Live performance there are no binding collective agreements, only suggested basic templates. NZ performers are allowed to work only on
individual contracts.
Norway – NSF
Collective agreement with the Norwegian theatre and orchestra association
Norway – NoDa
For dancers and choreographers in the public theatres - covers the whole sector.
For dancers and choreographers at the art university - negotiated with the university.
Poland – ZZAP
Ask ZASP - Polish Collective Agreements Society
Russia – RCWU
The Russian Cultural Workers’ Union (RCWU) has negotiated a sectoral agreement with the Ministry of Culture (a new one, for the years
2015-2017, is being finalized at the time of writing these lines). Its provisions serve as a “guaranteed minimum” for regional/municipal
collective agreements that regional RCWU organizations negotiate with regional/municipal authorities as well as for local collective
agreements that RCWU branches in individual theatre companies negotiate with the management on behalf of the staff.
Slovenia – GLOSA
Collective Agreement for the Public Sector; Collective Agreement for Non-commercial Activities; Collective Agreement for Cultural Activities
in Republic of Slovenia; Collective Agreement for Public Institute of Radio and Television of Slovenia; these collective agreements cover
whole sector(s).
Our union also negotiates with particular employers in live performance.
Sweden – TF
Subsidised Theatres, Opera houses, Independent Groups dance and Theatre, Private Theatres. Covers the whole sector
We negotiate with the employers’ organization
La CCT s'applique pour tous les rapports de travail qui lient un employeur membre de l'UTR et un employé membre du Syndicat SSRS. Elle
ne s'applique donc qu'aux employeurs signataires.
Ukraine – CWUU
The Cultural Workers’ Union of the Ukraine (CWUU) has negotiated a sectorial agreement with the Ministry of Culture. Its provisions serve
as a “guaranteed minimum” for regional/municipal collective agreements that regional CWUU organizations negotiate with regional/municipal
authorities as well as for local collective agreements that CWUU branches in individual theatre companies negotiate with the management
on behalf of the staff.
UK – Equity
We have agreements with UK Theatre covering Subsidised Repertory and Commercial Theatre, Ballet, Dance and Opera. We have a
collective agreement with SOLT which covers West End Artists. We have a collective agreement with the Independent Theatre Council
covering the independent and small-scale theatre sector. We also negotiate house agreements with individual employers. Examples
include Equity's agreements with the English National Ballet, Opera North, Northern Ballet, Welsh National Opera, Glyndebourne, Royal
Shakespeare Company, the Globe, New Adventures etc. We can supply you with copies of all of our collective agreements if that would
help.
USA – AEA
27. Please list the areas of live performance in which your union/organization does NOT have collective agreements.
Did not answer the question: Azerbaijan – CWU; Brazil – SATED/ES; Brazil – SATED/RJ; Cameroon – SCAS; Canada – ACTRA;
Chile – SIDARTE; Colombia – CICA; Georgia – ICSTEU; Greece – SEI; Madagascar – AATM; Morocco – SMPT; Nepal – FAAN;
Panama – UNAP; Paraguay – CEPATE; Peru – SAIP; Poland – ZZAP; Portugal – STE; Romania – FAIR-MediaSind; South Africa –
SAGA; Switzerland – SBKV; Turkey – AUT; Turkey – CASOD; Uruguay – SUA
Argentina – AAA
CIRCO
Australia – MEAA
Corporate Theatre (though such conditions cannot legally sit below Award minimums).
The Performers in the film sector
The circus artists and variety arts (the are not recognized as artists in Austria,- this is a problem for us
Belarus – BSAG
Cf. Q.26
Le théâtre privé
Brazil – SATED/MG
Para todas las áreas existen indicaciones de pisos mínimos
Canada – CAEA
CAEA asserts that its jurisdiction includes concerts performed by our members (that do not fall into the jurisdiction of the Canadian
Federation of Musicians), industrial shows, cabaret shows or concert performances with symphonies (solo or choral) but does not always
chose to exercise that jurisdiction. We do not have jurisdiction over circus performers, unless they are working in theatre, opera or dance
All areas except the publicly owned theatres.
Denmark – DAF
Please see the answer to question 24. In addition to this we often represent our members in individual negotiations in all areas of the live
sector.
Denmark – DSF
In the areas where a small Company produces themself, and if members hire members, when members teach.
Ecuador – FENARPE
Oratoria, mímica, danza, coreografía.
Estonia – ENLIIT
Film, commercial television companies and advertising agencies
Finland – FNL
Applied theatre and interactive theatre
France – SFA
Il n'en existe pas.
Germany – GDBA
Cruise-ship-shows,
Vaudeville shows,
Commercial theatres not being members with the Deutscher Bühnenverein,
Off-scene/Fringe theatre,
Pop-music.
Hungary – SDS
Employers’ organisation, TV, film, dubbing studios
Some privately funded organisations.
Japan – JAU
All live performances
Kazakhstan – CWU
105 None
Kyrgyzstan – CWU
None
Latvia – LKDAF
We don't have collective agreements in each theatre
Moldova – SICRM
None
Commercial theatre production -> especially MUSICALS (van den ende productions, Stage Entertainment)
All
Norway – NSF
Private commercial theatres and theatre companies outside the institutions
Norway – NoDa
The independent groups
TV
Russia – RCWU
The private and fringe sectors.
Slovenia – GLOSA
Commercial ventures of all sizes; Touring – Commercial; Member-produced/co-operation/profit-share productions; Fringe/Small-scale
productions; Self-employed artists.
Sweden – TF
None
Il ne s'agit pas de domaines mais d'employeurs.
Ukraine – CWUU
The private and fringe sectors.
UK – Equity
Much of the smaller scale work and small ballet and opera companies.
USA – AEA
We have agreements in all areas, except cruise ships and those covered by other unions. In some areas we might not cover all of the work.
28. Please list which elements are included in your collective agreements for live performance in your country. Please also
indicate which elements are covered by laws of the country.
Did not answer the question: Azerbaijan – CWU; Brazil – SATED/ES; Cameroon – SCAS; Canada – ACTRA; Chile – SIDARTE;
Colombia – CICA; Denmark – DAF; Georgia – ICSTEU; Greece – SEI; Japan – JAU; Madagascar – AATM; Morocco – SMPT; Nepal –
FAAN; Netherlands – FNV KIEM; New Zealand – Equity NZ; Nepal – FAAN; Panama – UNAP; Paraguay – CEPATE; Peru – SAIP;
Poland – ZZAP; Portugal – STE; Romania – FAIR-MediaSind; South Africa – SAGA; Switzerland – SSRS; Turkey – AUT; Turkey –
CASOD; Uruguay – SUA
Argentina – AAA
Salarios, condiciones laborales (horarios de ensayo, horarios de funciones, limpieza de camarines, etc.) Aportes patronales al sistema
solidario de salud de nuestra obra social O.S.A. Ley de contrato de trabajo.
Australia – MEAA
All collective agreements must under law include provision for dispute resolution provisions and individual flexibility arrangements.
Additionally, Equity agreements also provide for minimum rates of pay, penalty rates (for work in antisocial or unusual hours), overtime,
hours of work, superannuation, leave provisions, number of performances, conditions for casual employees, allowances, rest breaks,
publicity an other special calls, lay-of between seasons in the case of touring productions, audition guidelines, recording (archival and other
purposes).
Minimal wages, the contract, the working time, the establishment and the form of termination of contracts, working conditions, working hours,
break regulations
Belarus – BSAG
Cf. Q.26
Toutes les conditions de travail, les salaires etc.
Brazil – SATED/MG
Corrección salarial, fecha base, jornada de trabajo, transporte, empleado estudiante, garantía de empleo y jubilación, la empleada
embarazada, y todas las especificidades necesarias a cada sector, etc.
Brazil – SATED/RJ
Básicamente la carga horaria y el sueldo mínimo.
Canada – CAEA
Our collective agreements provide for terms and conditions including: fees, hours of rehearsal and performance, free days, touring and
travel, health and safety, termination, billing and promotion, recordings and photographs, amongst others. The theatre agreement also
includes special conditions for musical theatre, repertory theatre, theatre for young audiences, workshops and readings, child performers,
stage managers, directors, choreographers and fight directors. The ballet agreements include special conditions for dance surfaces, the
inclusion of children and/or students in productions and maternity leave provisions. Opera agreements include working conditions specific to
classical singers including music preparation, coaching and rehearsal restrictions. All agreements also provide for a dispute resolution
mechanism. Almost all agreements provide for the payment into an insurance program administered by. CAEA, with the exception of the
ballet companies which administer their own insurance plans geared to dancers that have conditions superior to the Equity plan. These
insurance plans (ours and the Ballet’s) cover services and treatments not provided through universal health care coverage (example:
physiotherapy, massage therapy, drugs etc.). All agreements also provide for payment into a retirement plan, which is designed to
supplement government pension payments
The collective agreements cover dealing with the specific conditions of their company.
Denmark – DSF
Working hour, minimum weeks of duration of contract, Holidays, pension, costume, minimum wages
Ecuador – FENARPE
Acuerdo colectivo solo teatro. Los elementos que están cubiertos por a ley de defensa de artista profesional son: actores, cantantes,
músicos, bailarines, fonomímicos, animadores, declamadores, y en general todo aquel que recite, interprete o ejecute una obra literaria o
artística, artistas de circos, de variedades y de otros espectáculos de entretenimiento y diversión, directores de teatro, directores de
orquestas e inclusive sinfónicas, coreógrafos, zarzuela, ballet y folklor.
Estonia – ENLIIT
Entire field of theatre work
Finland – FNL
All working conditions are in the collective agreements. Minimum wages, working hours, holidays, other conditions...
Pensions and working safety and lots of other things are covered by law.
107 France – SFA
Selon la loi nationale du travail voici les principales clauses qui doivent obligatoirement figurer dans une convention collective pour qu’elle
puisse être étendue par le Ministère du Travail à tous les employeurs non adhérents d’une chambre patronale signataire :
Les dispositions relatives au champ d’application, aux modalités de renouvellement, de révision, de dénonciation et de garanties accordées
aux salariés participant à la négociation.
L’exercice du droit syndical et la liberté d’opinion des salariés, le déroulement de carrière des salariés exerçant des responsabilités
syndicales et l’exercice de leurs fonctions ;
Les Délégués du personnel, le comité d’hygiène, de sécurité, des conditions de travail, les comités d’entreprises et le financement des
activités sociales et culturelles gérées par ces comités ;
Les éléments essentiels servant à la détermination des classifications professionnelles et des niveaux de qualification ;
Le salaire minimum national professionnel des salariés sans qualification et l’ensemble des éléments affectant le calcul du salaire applicable
par catégories professionnelles, ainsi que les procédures et la périodicité prévues pour sa révision ;
Les congés payés ;
Les conditions de recrutement des salariés ;
Les conditions de la rupture du contrat de travail ;
Les modalités d’organisation et de fonctionnement de la formation professionnelle tout au long de la vie ;
L’égalité professionnelle entre les femmes et les hommes, la suppression des écarts de rémunération et les mesures tendant à remédier
aux inégalités constatées ;
L’égalité de traitement entre les salariés et la prévention des discriminations ;
Les conditions propres à concrétiser le droit au travail des personnes handicapées ;
Les conditions d’emploi et de rémunération du personnel à temps partiel, des salariés appelés à exercer leur activité à l’étranger, des
salariés temporaires…
Les procédures conventionnelles de conciliation suivant lesquelles seront réglés les conflits collectifs de travail susceptibles de survenir
entre les employeurs et les salariés liés par la convention ;
Les modalités d’accès à un régime de prévoyance maladie (garantie décès, rente éducation pour les enfants, incapacité définitive ou
temporaire) ;
Les conventions collectives nationales du spectacle vivant couvrent tous ces critères. Bien évidemment les clauses spécifiques aux artistes
interprètes permettent de prendre en compte plus précisément ce qui les concerne directement.
Germany – GDBA
The NV Bühne is a collective agreement that includes:
Employment for at least one year including paid holidays.
Paid maternity leave (by law).
Statutory sick pay (by law and by collective agreement).
Holiday pay and Christmas bonus (by collective agreement, in general it is called: Zuwendungen)
Rest times between rehearsals and shows and between rehearsals for soloists, choir singers and group dancers (by collective agreement).
Regulation about free days (by law and by collective agreement).
Working times for artistic-technical staff.
Social protection (paid proportionate by employee and employer) with health-, nursing care-, unemployment, pension-insurance (by law) and
supplementary pension benefits (by collective agreement).
The NV Stage is a term contract for the duration of at least one season.
The employment contract must be concluded in writing and amendments must also be in writing. A stage work contract is – with regard to
the artistic interests – a contract on time.
The following information must be included in the employment contract:
- Designation of the stage (s) for which the member is employed
- The period for which the contract is completed and the calendar days on which the employment relationship begins and ends
- Type of Employment: Solo member, (artistic) stage technicians, opera chorus member or dance group member
- For Solo Members: specific activity acc. § 1 paragraph 2 NV stage and for performing solo members the art form
- For stage technician: specific activity acc. § 1, paragraph 3 NV stage and the average weekly working time
- For the Opera Chorus Member the vocal group: 1st soprano, 2nd soprano; 1st tenor, 2nd tenor, alto 1, 2 Alt, 1 bass, 2 bass
- For the dance group member: eventual existence of an obligation to solo performances
The remuneration is regulated separately for each employment groups in the collective agreement. Soloists and artistic stage-technicians
have a minimum wage of 1650 Euro brutto per month. For choir singers and group dancers exist wage-charts.
A stage work contract that has been completed for at least one season, is renewed automatically for another season, unless either party
notifies the other in advance in writing that the contract does not extend (non-renewal notice). The date set for the delivery of the nonrenewal notices is according to the special regulations in NV Stage either October 31 or July 31 before the contract is supposed to be
terminated. The deadline is extended with increasing duration of employment. In a period of employment of more than 8 years, the nonrenewal shall be displayed until July 31 of each previous season. The professional groups solo, (artistic) stage technicians and group
dancers have tenure after 15 years (seasons). Then the employer may make the non-renewal notice only in the form of a notification of
change, i.e. that the employment relationship is to be continued under other conditions.
If the employment relationship has lasted for more than eight years without interruption at the end of the season, the employer and the
member may agree contractually that up to 4 seasons of the subsequent seasons will not be counted towards the 15 years.
108 For the occupational group choir, the 15-year rule does not apply, but the contractual arrangement for choir includes very strong regulations
of social protection. This is also the reason why the following for choir singers does not apply.
Before the non-renewal notice must be issued, the member must be invited to a hearing. This hearing is subject to several conditions
concerning form, invitation and content.
If the non-renewal notice is due to a change of director and is given in the season before the director changes, the Member will receive a
severance payment depending on the duration of employment:
The severance payment after continuous employment with the same employer is:
- 3 months remuneration at 4 years employment
- 4 months Allowances for 6 years employment
- 5 months Allowances for 9 years employment
- 6 months Allowances for 12 years employment.
However, further precondition for the payment of severance pay is that the member has not received another full artistic contract within 3
months after completion of the contract.
Is the member moving due to the Intendatenwechsels and the related non-renewal notice in the first season after the Intendatenwechsel and
was the member not continuously 4 seasons employed at the same stage, it receives a grant for the relocation costs. The amount of the
grant is half of the actual relocation costs, but at most a monthly fee. The grant is to be paid in a lump sum; Services of another stage or out
of public funds to the relocation costs are to be counted.
Hungary – SDS
The connection among the employer and the union; working conditions, work legislation; working time, resting time, holiday, extra work,
wages, social and other benefits, damages responsibility, labour dispute.
In the collective agreements pay rates and rehearsal rates are negotiated as are all other terms covered by law such as health and safety,
annual leave, working time etc. We aspire in each agreement to have terms in excess of the legal minimums.
Kazakhstan – CWU
E.g., extra paid leave and other benefits, over and above the statutory norms and provisions of the sectoral agreement, in consideration of
specific working conditions.
Kyrgyzstan – CWU
E.g., extra paid leave and other benefits, over and above the statutory norms and provisions of the sectoral agreement, in consideration of
specific working conditions.
Latvia – LKDAF
The most important points are the salaries, employment, working conditions, working times, ocational time, work safety, social guaranties,
union rights etc.
Moldova – SICRM
Conditions of engagement and dismissal; working and leisure conditions; payment and remuneration conditions, etc., in accordance with the
Labour Code of the Republic of Moldova
Norway – NSF
Wages, working hours, social security, pension and copyright
Norway – NoDa
Working time, all sorts of rights according to the work environment law, fees, description of the work
Russia – RCWU
Employment and dismissal; employment guarantees, incl. large-scale layoff risk management; training and retraining; remuneration; working
hours and scheduling, paid leave, etc.; occupational safety and health; trade union rights, benefits and activities; etc. Most of these elements
are also covered by the Russian law that establishes minimum standards on which collective agreements are supposed to build up.
Slovenia – GLOSA
General and obligatory provisions; the information and consultation of workers; the freedom to establish, operate, and join trade unions;
employment relations, wages, allowances, compensations and refunds, as well as rights and obligations of parties in dispute.
Sweden – TF
Minimum wages, working hours, pensions, Insurance is in the collective agreements
Working hours, Contents of working contract. How can a contract end? Minimal wages, Holidays. All these things are also covered by laws
but in many ways the theatre sector is exceptional.
Ukraine – CWUU
Employment and dismissal; employment guarantees, incl. large-scale layoff risk management; training and retraining; remuneration; working
hours and scheduling, paid leave, etc.; occupational safety and health; trade union rights, benefits and activities; etc. Most of these elements
are also covered by the Ukrainian law that establishes minimum standards on which collective agreements are supposed to build up.
109 UK – Equity
We have agreements with UK Theatre covering Subsidised Repertory and Commercial Theatre, Ballet, Dance and Opera. We have a
collective agreement with SOLT which covers West End Artists. We have a collective agreement with the Independent Theatre Council
covering the independent and small-scale theatre sector. We also negotiate house agreements with individual employers. Examples
include Equity’s agreements with the English National Ballet, Opera North, Northern Ballet, Welsh National Opera, Glyndebourne, Royal
Shakespeare Company, the Globe, New Adventures etc. We can supply you with copies of all of our collective agreements if that would
help.
USA – AEA
Our agreements are very complex, but basically, they all include minimum salaries and benefits (pension, health, 401(k)); safe and sanitary
guidelines; rehearsal and performance rules; and also requirements as to meeting legal obligations such as workers’ compensation,
unemployment insurance, and other payments. Further, our agreements outline how actors must be contracted, what must be included in
those contracts, and how the category of work will be determined.
29. Do you address training in your collective agreements?
Did not answer the question: Belarus – BSAG; Brazil – SATED/ES; Cameroon – SCAS; Canada – ACTRA; Chile – SIDARTE;
Colombia – CICA; Georgia – ICSTEU; Greece – SEI; Madagascar – AATM; Morocco – SMPT; Nepal – FAAN; Peru – SAIP; Panama –
UNAP; Paraguay – CEPATE; Portugal – STE; Romania – FAIR-MediaSind; South Africa – SAGA; Turkey – AUT; Turkey – CASOD;
Uruguay – SUA
Organisation
Argentina – AAA
Australia – MEAA
Azerbaijan – CWU
Brazil – SATED/MG
Brazil – SATED/RJ
Canada – CAEA
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Yes
No
X
X
X
X
X
X
Notre fond social s’en occupe
Se trata del tema con las indicaciones de condiciones especiales de
contratación para artistas y técnicos en formación que tienen que ser
distintas de los profesionales
X
We have good relations with the schools of acting
X
X
X
X
X
France – SFA
X
Germany – GDBA
X
Se aspira tener una formación artística practica. En la escuela de
capacitación.
Somehow
In collective agreement it is said that it is mandatory to plan
training, but in practice this is not enough.
Oui notamment pour les artistes à haute intensité physique comme les
danseurs, les circassiens, etc.
It is set in the NV Bühne, that ballet-companies have to give training to the
ensemble.
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
X
X
X
X
Kyrgyzstan – CWU
X
Latvia – LKDAF
Moldova – SICRM
Netherlands- FNV KIEM
X
X
X
Norway – NSF
Norway – NoDa
X
Poland – ZZAP
Russia – RCWU
X
UK - Equity
USA - AEA
No – though it would not be impossible to seek this in future agreements.
X
X
Estonia – ENLIIT
Finland – FNL
Slovenia – GLOSA
Sweden – TF
Switzerland - SBKV
Ukraine – CWUU
Specify
Training arrangements are usually developed and agreed upon on a caseby-case basis by the management and the performer concerned
Training arrangements are usually developed and agreed upon on a caseby-case basis by the management and the performer concerned.
There is a budget (social fund) for training/education. And an obligation to
sit and talk about the work and future wishes once a year.
X
X
Dancers in the theatre is suppose to have time and a proper space for
warm up.
X
Training issues are addressed rarely and marginally, as the Ministry and
employers lack funds earmarked for the funding of training and retraining.
Training activities for trade union representatives and workers.
For dancers
X
X
X
X
X
Training issues are addressed rarely and marginally, as the Ministry and
employers lack funds earmarked for the funding of training and retraining.
X
X
Unless it is an Actor/Teacher contract, in which our member is teaching.
30. Please explain other ways in which these performers may be protected? Do you have example(s) of good practice in this field?
Did not answer this question: Argentina – AAA; Azerbaijan – CWU; Brazil – SATED/MG; Brazil – SATED/RJ; Canada – CAEA;
Canada – ACTRA; Denmark – DAF; Denmark – DSF; Finland – FNL; Greece – SEI; Japan – JAU; Kazakhstan – CWU; Kyrgyzstan –
CWU; Netherlands – FNV KIEM; Norway – NoDa; Poland – ZZAP; Sweden – TF; Switzerland – SSRS
The Austrian Theaterarbeitsgesetz and other Austrian legislation
Australia – MEAA
Work Health and Safety - the Entertainment Industry Safety Code sits alongside the agreement, and also by applicable state legislation.
Belarus – BSAG
No, since we have only been dealing with the audiovisual sector.
Non
Brazil – SATED/ES
Se hacen acuerdos colectivos directamente con el productor del espectáculo siendo estos aprobados previamente por el sindicato.
Cameroon – SCAS
Ce n'est que par la négociation, la persuasion et le dialogue.
Chile – SIDARTE
SIDARTE intercede y entabla dialogo con todas las instancias que contratan actores y actrices para espectáculos en vivo y firma acuerdos
de buenas prácticas, el último año hemos avanzado mucho con el estado, los espacios teatrales de carácter público y el principal festival de
teatro en Chile. A su vez hemos creado una Plataforma de Artes Escénicas que convoca a todos los agentes relevantes del sector para
dialogar las políticas de este y la redacción de la Ley sectorial de Artes Escénicas anteriormente mencionada.
Studying young actors are encouraged to join our union.
Colombia – CICA
Con un manual de buenas prácticas laborales.
Ecuador – FENARPE
Brindarles los servicios de seguro social, capacitaciones con profesionales a nivel internacional, etc.
Estonia – ENLIIT
When the Beijing Agreement enters into force in EU
France – SFA
Nous avons des permanences pour les aider et les conseiller dans les difficultés qu'ils peuvent rencontrer avec les administrations de
l'assurance chômage et la sécurité sociale. Nous les conseillons également à propos des contrats et litiges qu'ils peuvent avoir avec les
employeurs. Nous les informons sur toutes les possibilités que peuvent offrir les différentes institutions sociales ainsi que les fonds sociaux
que le SFA et notre Fédération CGT du Spectacle ont su contribuer à créer.
Georgia – ICSTEU
Through legal action (according to the Georgian Labour Code)
Germany – GDBA
The best protection is to give members good legal advice before they sign a contract and legal protection when something went wrong.
Hungary – SDS
Our union has more jurist and legal advisers. They can help.
We are of the view that the schools from which performers graduate should include a module in their program about the business side of
being a performer, collective agreements and performers rights
Latvia – LKDAF
No comment
Madagascar – AATM
La création du Syndicat des Artistes Interprètes Malagasy ou SAIM est primordiale, malheureusement nous n'avons pas les moyens
d'organiser cette rencontre à cause des moyens financiers pour permettre aux représentants des artistes interprètes des provinces et de
quelques régions venir assister à la création de ce syndicat
Moldova – SICRM
112 None
Morocco – SMPT
Par la négociation de la signature des convention collective et l'intervention directe ou le recourt à la justice
Nepal – FAAN
Performers enter into formal written contract with the employers articulating terms and condition. There is government policy to provide
protection measures to the performers.
We fight cases on an individual basis, and do so with whatever protection exists under normal statute, not under collective agreement.
Norway – NSF
The labour environment legislation protects all employees and exists as basic protection
Panama – UNAP
Darle estabilidad laboral
Paraguay – CEPATE
En este momento estamos trabajando en un tarifario base para firmar convenios colectivos
Peru – SAIP
Inspecciones a los centros de trabajo por parte del ministerio del trabajo que es el ente del estado que se encarga de la fiscalización a los
centros de trabajo que incumplen con los derechos laboréales de los trabajadores.
El SAIP ha cursado varias cartas al ministerio de trabajo para que practiquen inspecciones a los centros en los que vienen laborando
artistas, para que se compruebe en primer lugar si tienen contrato de trabajo, luego si han hecho los aportes al fonda de derechos sociales
del artista y también las condiciones la como en seguridad en el trabajo.
Portugal – STE
We had a Collective agreement with the one employers organization. But since they closed, nearly 20 years ago, we have no one to
negotiate with. The only attempt to an enterprise agreement is with the Lisbon National Theatre. But we have been negotiating it for the last
6 years with no conclusions. The main reason is the frequent changes of the administration of the theatre and the changes of its status. It
was approved a Theatre Law, but not as we thought it would be as far as the real protection of performers. So what we can do, and are
doing, is trying to improve this same law with the introduction of articles defending performers, through the deputies in the National
Assembly.
We have some collective agreements in public institutions
Russia – RCWU
The Labour Code stipulates that a worker’s rights can be protected and upheld by the trade union, or by seeking redress via the Labour
Disputes Board, or by legal action.
Slovenia – GLOSA
Security of employment; protection of workers in the event of the insolvency of their employer; general protection of labour rights; protection
of working conditions
All we have is the support of agents that insist on the use of the standards contracts that we suggest and that we are in the process of
updating and revising for the current landscape in SA.
In Addition to the collective Agreements, we have house contracts with the individual theatres
Turkey – AUT
In Turkey most of live performers are seem like self-employment or have no contract. Implementation of national laws is a good way to solve
problems.
Turkey – CASOD
Both the Actors Union of Turkey and our organization are working towards the setting of the professional criterions for actors and the issue
of actors to be considered as "employees" in the eyes of the government - ministry of labour. We both are trying to lobby and create
awareness on these issues.
The AUT has reached improvement in these issues in their dealings with the government authorities (since they are the ones with the status
of "trade union") in the past few years. But unfortunately, in the issue of "actors being considered employees" as opposed to freelance
people, the advancement reached has been deteriorated after the Producers' Association has been established and started counter lobbying
to the government on the issue.
Ukraine – CWUU
The Labour Code stipulates that a worker’s rights can be protected and upheld by the trade union, or by seeking redress via the Labour
Disputes Board, or by legal action.
113 UK – Equity
Personal case work such as for breach of contract, personal injury etc. Collectively negotiated insurance policies such as backstage
insurance. Pension arrangements. Social security advice and representation.
USA – AEA
Actors are also covered by the provisions of Federal Labor and Employment Law, as well as the enforcement of our agreements by the
union. While certainly issues arise, most are resolved without resorting to formal grievance proceedings.
Uruguay – SUA
El sindicato tiene oficina jurídica, se han ejercido presiones sobre productoras, se ha mediado en conflictos y en forma permanente
demandamos del poder ejecutivo el cumplimiento y el contralor de la ley del artista.
31. If not in collective agreements, then how do performers access on-going training and lifelong learning? Do you have
example(s) of good practice in this field?
Did not answer the question: Argentina – AAA; Azerbaijan – CWU; Belgium – ACOD Cultuur; Denmark – DAF; Finland – FNL;
Madagascar – AATM; Morocco – SMPT; Poland – ZZAP; Turkey – AUT
Australia – MEAA
Access to master classes and workshops via Equity Foundation’s extensive training program – free and exclusively member. Approximately
100 training sessions are programmed across Australia annually.
Other formal and informal training at on expense.
No
Belarus – BSAG
National legislation provides for on-the-job training arrangements.
Brazil – SATED/ES
Haciendo seminarios de formación sobre los derechos de los trabajadores.
Brazil – SATED/MG
Esto seria posible en un país que lleve seriamente la profesión de artistas y técnicos con trabajo serio.
Brazil – SATED/RJ
Los artistas empiezan trabajando el las pequeñas compañías y grupos o en escuelas de teatro
Cameroon – SCAS
N’ayant pas encore de conventions collectives les initiatives sont à prendre, mais nous formons encore nos cadres.
Canada – CAEA
CAEA has a small amount of money that is used each year to partially defray the costs of participating in workshops or other short- term
professional development opportunities. Otherwise, our members are generally on their own to access training. There are some grants
available for advanced professional development but basic training is usually achieved through a university degree program.
Canada – ACTRA
Performers in both live and recorded media participate in on going training provided by the private sector at their own expense
Chile – SIDARTE
La formación se hace a través de talleres de perfeccionamiento que promueve el Sindicato y acuerdos con Escuelas de Formación
Colombia – CICA
Talleres independientes. Convocatorias a través del Ministerio de Cultura.
Collective agreements don´t cover training schemes, lifelong training is made on a personal basis only.
Denmark – DSF
We make our own training, and the state do provide with training for actors
Ecuador – FENARPE
Al momento solamente a través de los seminarios de capacitación que ofrece la federación.
Estonia – ENLIIT
Actor can always ask financial support from our union and The Cultural Endowment of Estonia
France – SFA
Depuis 1972 les artistes interprètes bénéficient d’un fonds de formation mutualisé financé par une cotisation des employeurs qui leur permet
d’avoir accès à la formation continue quelle que soit la nature de leur contrat de travail (durée indéterminée ou déterminée). Les artistes
interprètes intermittents (embauchés systématiquement en contrat à durée déterminée) peuvent ainsi accéder à la formation continue entre
deux contrats de travail.
Georgia – ICSTEU
No
Germany – GDBA
Performers have to take care of their training themselves. When they are employees and officially unemployed the unemployment agency
sometimes pays for special programmes that are set up as a further education course.
Greece – SEI
On-going training and lifelong learning were never addressed, even when collective agreements existed. In general, this is supposed to be
115 each actor’s private business, and had never acquired a status worthy to be supported or included in an agreement.
Hungary – SDS
The union try to help them
They do so in a private capacity.
Japan – JAU
Some funded programmes provided by industrial bodies and service organisations available.
Kazakhstan – CWU
The Ministry of Culture and Sports has developed and maintained ongoing training and lifelong learning programmes for performers that
include training opportunities abroad. Moreover, opportunities offered by the Bolashak International Scholarship are widely used (see
https://en.wikipedia.org/wiki/Bolashak for details).
Kyrgyzstan – CWU
See the reply to Question 29 above. Ongoing training and lifelong learning opportunities are provided by theatre companies and/or tertiary
education system and may include, e.g., “artistic internships” abroad, esp. in other CIS countries.
Latvia – LKDAF
No comment
Moldova – SICRM
None
Not anymore. We used to have a training fund that covered the whole cultural sector. That doesn’t exist anymore and we have to find a
replacement.
Equity NZ offers professional development and training as much as we are able. Otherwise it is up to the individual to pay for their own.
Nepal – FAAN
The performers have to find appropriate training opportunities on their own cost and initiative
Norway – NSF
It is possible to get subsidised training through the actors centre.
Norway – NoDa
Norway has an organisation, (PRODA), financed by the government, who’s goal is to provide free daily training for professional dancers.
This mainly happens in Oslo where most of the dancers live.
Panama – UNAP
Con participación a congresos seminarios
Paraguay – CEPATE
De forma individual
Peru – SAIP
No
Portugal – STE
There are no such facilities for our members.
Sectoral Committee of Culture
Russia – RCWU
See the replies to Questions 28 and 29 above. Ongoing training and lifelong learning opportunities are supposed to be provided by theatre
companies and/or the tertiary education system.
Slovenia – GLOSA
They can award the contract for training.
This has to be done privately.
Sweden – TF
Daily practice for dancers, singers, Projects funded by ESF/EU
116 Switzerland – SBKV
It is really there own Business. We offer a lot of Information about courses and also organize a specific course
Il y a très peu d’accès.
Turkey – CASOD
They don’t have access to such organized schemes. They take individual initiatives related to their own lifelong training.
Ukraine - CWUU
See the replies to Questions 28 and 29 above. Ongoing training and lifelong learning opportunities are supposed to be provided by theatre
companies and/or the tertiary education system.
UK – Equity
We provide a range of training opportunities to Equity members ourselves and with partners, such as the Federation of Entertainment
Unions, the Trades Union Congress and the General Federation of Trades Unions.
USA – AEA
Actors take classes or get coaching on their own initiative. We do not administer, track, or provide it.
Uruguay – SAU
El sindicato impulse la negociación colectiva como herramienta democrática, participativa e igualitaria, tenemos un centro cultural sindical a
través del cual generamos espacios de formación permanente en diversas áreas.
32. Does your union protect performers working in the less formal live performance sector (e.g. independent, low budget, small
scale, fringe, co-operative productions)?
Organisation
Argentina – AAA
Yes
X
Australia – MEAA
X
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
X
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
X
X
X
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
X
X
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
X
X
X
La obligación del sindicato es proteger a las categorías por el
representadas, sin discriminación
CAEA has a number of “policies” that are not negotiated with any
engagers which are used when members are participating in small scale
and often member produced production.
X
Sin embargo no entendemos la clase de protección que podríamos
darles. Nos interesa conocer al respecto.
X
X
X
X
X
X
X
Georgia – ICSTEU
Germany – GDBA
X
X
Greece – SEI
X
X
X
X
X
X
Norway – NSF
Norway – NoDa
X
X
Panama – UNAP
Paraguay – CEPATE
X
X
Not as much as we want to
Son quienes mas reciben apoyo, por tratarse de artistas populares que
requieren ser amparados por nuestra ley.
Collective agreement applies there as well (somehow)
Oui et tous ces secteurs sont couverts par les conventions collectives
nationales du spectacle vivant
X
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Specify
Sociedades accidentales de trabajo (Cooperativas) Tienen acceso al
sistema solidario de salud a través de sus aportes.
Through the Equity Co-op Agreement, and also enforcement of legal
rights working in this environment. Equity will pursue remedy for
members as appropriate, where breaches of agreements/contracts
occur.
Legal advise and legal protection
X
X
Estonia – ENLIIT
Finland – FNL
France – SFA
Hungary – SDS
No
All our members are getting legal advice or legal protection no matter
which sector of live performance they are working in.
Performers working in this area are seldom fully paid or insured, so they
do not have the Social Security requirements to become full members of
the Union. In addition, they usually are indifferent to the Union issues, so
they don’t even bother to become members. However, when collective
agreements existed and had legal power, we could always force
producers to respect them, even if they were not members of any
employers’ organisation.
We try to engage with the fringe productions on rates and standards.
Some are amenable and some are not.
X
X
X
X
X
X
Voir explication n°22
Intervention directe
As members they can access our legal services and get a lawyer for free
when necessary. We do lobby work for the sector and self-employed.
We do our work in the copyright organisations (CMOs). We will
negotiate/bargain when we are called upon in case of
reorganisation/closing of a company...
Again as much as possible under the law. e.g. Health and Safety laws,
copyright laws
Support in conflicts and looking into contracts
We help them negotiate contracts, and in case of conflict, we use our
lawyer to help solving the problems.
El sindicato si aporta el apoyo
La gran mayoría de actores y actrices en Paraguay trabajan en
producciones independientes, de bajo presupuesto, de pequeña escala,
118 Peru – SAIP
Poland – ZZAP
Portugal – STE
Russia - RCWU
Slovenia – GLOSA
Sweden – TF
X
X
X
All of them.
X
X
X
X
X
Turkey – AUT
Turkey - CASOD
X
X
X
Ukraine – CWUU
UK – Equity
X
USA - AEA
X
Uruguay – SUA
X
alternativas o cooperativas.
Son a los que mas tenemos que proteger ya que hay muchas empresas
que son informales que estafan a los trabajadores.
X
But by difficult effort due to absence of collective agreements.
On our Website we also have an example for working contracts (small
Groups, small theatres) No matter what sector they work in they have
Access to all our Services. We receive many questions from These
members.
It does, since the named categories constitute the majority of actors in
Turkey.
X
We have a contract for the fringe and we visit small-scale companies.
We offer legal advice and representation to members who work in these
areas and have taken legal claims to enforce statutory rights i.e. to the
NMW and holiday pay.
Our members must be covered by an Equity code or contract every time
they work in our jurisdiction. Otherwise, they cannot accept the
employment.
Administramos una cooperativa de trabajo artístico que formaliza el
empleo, brindamos asesoramiento jurídico, ofrecemos talleres de
producción.
Did not answer this question / answered “no”: Argentina – AAA; Azerbaijan – CWU; Belarus – BSAG; Belgium – ACOD Cultuur;
Brazil – SATED/MG; Brazil – SATED/RJ; Cameroon – SCAS; Canada – ACTRA; Chile – SIDARTE; Colombia – CICA; Czech Republic
– HA; Denmark – DAF; Denmark – DSF; Ecuador – FENARPE; Estonia – ENLIIT; Georgia – ICSTEU; Greece – SEI; Hungary – SDS;
Ireland - SIPTU / IE; Japan – JAU; Kazakhstan – CWU; Kyrgyzstan – CWU; Latvia – LKDAF; Moldova – SICRM; Madagascar –
AATM; Morocco – SMPT; Netherlands – FNV KIEM; New Zealand – Equity NZ; Norway – NSF; Panama – UNAP; Paraguay –
CEPATE; Poland – ZZAP; Portugal – STE; Romania – FAIR-MediaSind; Russia – RCWU; Slovenia – GLOSA; South Africa – SAGA;
Switzerland – SBKV; Switzerland – SSRS; Turkey – AUT; Turkey – CASOD; Ukraine – CWUU; Uruguay – SUA
Australia – MEAA
Yes, current pursuit of fees for an Equity member who had been engaged on non-Equity arrangements for a Sydney-based independent
theatre company.
Yes, all kinds of Information campaigns
Brazil – SATED/ES
Si, la mayoría trabajan de esa forma
Canada – CAEA
Independent Theatre Agreement – a mirror agreement to the CTA for large scale theatres that are not members of PACT B) The Industrial
Shows Policy amendments to the ITA applies to a live promotional production to the public or productions by a corporate entity, or presented
in a corporate (non-traditional) setting. C) Guest Artist Policy – for the engagement of Equity members by non or semi-professional
companies. D) The Artists’ Collective Policy is ideal for those collaborative productions where there is no guarantee of any fees and instead
there is an agreement to share revenues, including box office proceeds. E) The Festival Policy enables members, collectives and
independent producers to participate and showcase artistic activities in a festival setting. F) The INDIE 2.0 is for small scale, independent
producers with certain budget sizes and box office potential. This is our newest and most creative agreement which allows for noncontinuous rehearsal and the ability to share the box office revenue. G) The Guidelines for Benefits and Fundraisers allows members to give
of their time for a reduced fee to fundraising for theatres and other charitable causes. H) The Canadian Dance Policy (2009-2014) is the
instrument by which an Artist who is a member of Equity may be engaged for short-term engagements in independent dance productions I)
The Independent Opera Producers Agreement (IOPA) applies to all professional opera engagers who are not signatories to the COA, OPA
or VOA.
Finland – FNL
Yes, as long as members feel like they are helped, they stay members.
France – SFA
Oui certaines dispositions conventionnelles prennent en compte la jauge des salles et la négociation a du prendre en compte les réalités de
ces secteurs
Germany – GDBA
Yes, especially when someone is not working on our collective agreement it is very helpful if the performer gets continuous advice about
new contracts. When there are problems it is often very helpful if the member is able to get a written document to show to the theatre, which
explains the problems with the suggested contract.
Nepal – FAAN
Yes, the agreement spells out the terms of conditions and benefits. This is the protection to the performers.
Norway – NoDa
Yes, It is hard to answer, very few times; we get all dancers on a particular job contact us and send in their contracts. Many times they
haven’t got a contract at all. But, sometimes dancers call us and tell that our advices fees went through, and they get both surprised and
happy.
Peru – SAIP
Si, hay sesudos empresarios que contratan elencos de teatro para llevar a provincias, terminada la presentación desaparecen dejando
varados a los artistas, el sindicato tiene que agotar todos los esfuerzos para conminar a este tipo de empresas a que paguen al artista y
que hagan sus aportaciones.
Sweden – TF
Yes, we have collective agreements.
UK – Equity
Yes, we’ve negotiated agreements with small fringe companies where companies agree to pay at least the National Minimum Wage e.g.
with the Kings Head. We can supply one of these as an example.
USA – AEA
120 Yes, while there may be members who choose to violate their commitment to us and work without benefit of a contract or code, the
instances that come to our attention are rare
34. Have you undertake any initiative/campaign to increase your membership?
Organisation
Argentina – AAA
Yes
X
Australia – MEAA
X
Azerbaijan – CWU
Belarus – BSAG
X
X
Brazil – SATED/ES
X
X
Brazil – SATED/MG
X
Brazil – SATED/RJ
Cameroon – SCAS
X
X
Canada – CAEA
X
Chile – SIDARTE
X
Colombia – CICA
X
X
Denmark – DAF
Denmark – DSF
X
Ecuador – FENARPE
X
X
BSAG’s initiatives/campaigns to increase its membership are limited
to the audiovisual sector.
X
X
France – SFA
Georgia – ICSTEU
X
Germany – GDBA
X
Greece – SEI
X
Hungary – SDS
X
X
Japan – JAU
Kazakhstan – CWU
X
X
Kyrgyzstan – CWU
X
X
On fait des formations, de réunions ouvertes etc.
A través de pruebas teóricas y prácticas con el objetivo de obtener registro
profesional.
Firmando convenios con escuelas de formación y capacitación de artistas y
técnicos, con el gobierno, llevando charlas a las ciudades del interior y
realizando exámenes de capacitación profesional
Empezamos a noticiar más los servicios ofrecidos por el sindicato.
Des campagnes de sensibilisation à travers le pays, nous volons absolument
convaincre nos adhérent par des explications.
No, CAEA does not actively campaign to get new members as membership
requires a certain amount of experience first. However we have recently
concluded a first agreement with a large ballet company (the dancers came
to us) and we are in the process of reaching out to independent dancers to
bring them into CAEA.
We actively outreach in our areas of jurisdiction i.e., film and TV,
Commercials, as well as looking for new areas in the recorded media
industries i.e.: video games.
Llevamos dos años realizando la Campaña Soy Actor Soy Trabajador Soy
actriz soy trabajadora y #ESTIEMPODESINDICALIZARSE generando gran
adhesión
Our president travels regularly around the country to gather information
about the working conditions at theatres, we attract new membership in
helping actors to solve their worsening relations with the employer´s side.
X
Estonia – ENLIIT
Finland – FNL
Specify
La campaña es permanente. De hecho la afiliación como la desafiliación por
la falta de continuidad en la profesión es permanente.
Cast meetings across both independent fully professional theatre companies.
Outreach to students through training institutions and annual Equity
Graduate Days in Sydney, Melbourne and Brisbane. Rolling campaign of
organisers calling unfinancial members to reactivate financial membership.
Building a join ask into all campaigns.
All kinds of Information campaigns
X
Canada – ACTRA
Latvia – LKDAF
Madagascar – AATM
No
Invitándolos a afiliarse y para tal fin enviamos información de lo que ha
hecho el sindicato, lo que está haciendo y lo que va a hacer.
El actual directorio con su presidente electo, se encuentran trabajando en la
elaboración de spots radiales, televisivos, afiches, ferias artísticas a formar
parte de la federación, brindándoles beneficios en salud, estudios de
grabación, casas disqueras, capacitaciones permanentes.
We have very strict membership rules and we do not take all in. Most
of the professional actors are members (122pprox.. 95%)
De façon permanente avec des succès mitigés
The current union coverage in the live performance is believed to be close to
100 per cent.
Meetings in theatres for non-members. Seminars for students. Being visible
on protest-websites with notes of protest. Online consultations in an internetforum specialized on theatre-artists. Developing PR-activities.
By lowering the membership fees, by erasing past debts, and by trying to
persuade people that their problems could be addressed collectively (which
is something that many of them mistrust).
Homepage, newsletter net, information sheet, Facebook,
We are organising students in to the union though school visits. We are
focusing on developing better contracts and doing more set visits than
previously. We are developing training for members on how to understand
their contract and we do some open nights for actors to meet directors.
X
The union coverage in the live performance has stabilized at close to
100 per cent.
X
The current union coverage in the live performance is believed to be close to
100 per cent.
Information to young actors – beginners
Réunion, Rencontre, Débat.
122 Moldova – SICRM
Morocco – SMPT
X
X
X
X
Norway – NoDa
X
Nepal – FAAN
Norway – NSF
Panama – UNAP
Paraguay – CEPATE
X
X
X
X
Peru – SAIP
X
Poland – ZZAP
Portugal – STE
X
X
Russia – RCWU
X
Slovenia – GLOSA
X
Sweden – TF
X
X
X
Turkey – AUT
Turkey - CASOD
X
X
USA – AEA
Uruguay – SUA
Direct contact where possible; distribution of propaganda at the Theatres; EMails announcing Street actions together with Lisbon Union’s Federation
and the National Confederation; a biannual Journal, a campaign with fees
pardon…
X
Russian law permits trade union branches to be set up and operate in the
workplace, e.g. in theatre companies; thus the efforts to increase
membership in the sector are ongoing.
We undertake a sustained effort to increase our membership by informing
workers through direct and indirect contacts (e-mailing, website, journals,
individual conversations etc.).
Recruiting, campaigns
We are visiting the theatres where we do not have an SBKV-Group. We
regularly visit the Schools. Or better we should unfortunately thins have not
been quite what they should have been during the last two years.
X
Ukraine – CWUU
UK – Equity
Seminars, meetings with staff members of theatre companies, etc.
Rencontre avec les artistes
General campaigning.
With limited resources, we strive to increase membership with social and
training meetings. We have more than doubled membership in the last 5
years, but it has somewhat plateaued recently.
We visit the schools of higher education each year, and have found out that it
is very important to reach dancers while they are students.
We are appealing fellow performers to become a member of our union.
Active recruitment from the theatre schools.
Presentaciones seminarios
Cuando asumimos como comisión directiva a fines de octubre del 2013
hicimos una campaña explicándole a los actores y actrices la importancia de
asociarse al gremio para trabajar juntos en pos de levantar la institución que
estaba a punto de desaparecer
Hemos empezado con el cambio de nuestra razón social ya que la palabra
sindicato en nuestro país es sinónimo de violencia, esto ha quedado
después de la lucha que hemos tenido contra el terrorismo, le estamos
dando prioridad especial a las quejas de nuestros afiliados cuando no les
pagan sus remuneraciones, sus repeticiones; resolviendo estos casos sin
llegar a reclamos judiciales que son engorrosos, lo hacemos en la vía de la
conciliación, todo esto nos esta dando grandes resultados; hemos cambiado
la imagen del sindicato, hemos cambiado mobiliario obsoleto par mas
moderno, estamos visitando instituciones donde se forman artistas dando
charlas, estamos haciendo seminarios de capacitación para e afiliado, etc.
Social Security Campaign called 4A Campaign
We organize our members to reach no members in the productions they take
part together with. We use Facebook and Twitter to reach non-members.
And we take presence at the Film - Theatre Festivals to reach actors.
X
X
Ukrainian law permits trade union branches to be set up and operate in the
workplace, e.g. in theatre companies; thus the efforts to increase
membership in the sector are ongoing.
A Low Pay No Pay Organiser has been appointed and we've been running a
high profile campaign on this issue to increase awareness of NMW rights and
the problem of LPNP in the sector. At last years Performers' Alliance
Parliamentary Reception we launched our Work Not Play leaflet and
engaged with Parliamentarians on the issue of pay in the entertainment
sector. We make sure we visit and have a high profile at the main fringe
festivals such as Edinburgh and Bridgton and next year we will be running a
major initiative which we will designate the Year of the Fringe. The union also
undertakes similar programmes in all mainstream areas.
X
X
En forma permanente generamos acciones de acercamiento de los artistas
al sindicato, especialmente hacia las generaciones de egresos de las
distintas instituciones de formación.
35. Do you have example(s) of good practices in relation to internal organisation?
Did not answer the question / answered “no”: Belarus – BSAG; Cameroon – SCAS; Denmark – DSF; Estonia – ENLIIT; Finland –
FNL; Georgia – ICSTEU; Greece – SEI; Hungary – SDS; Japan – JAU; Moldova – SICRM; Morocco – SMPT; Netherlands – FNV
KIEM; New Zealand – Equity NZ; Paraguay – CEPATE; Portugal – STE; Romania – FAIR-MediaSind; South Africa – SAGA;
Argentina – AAA
Si, nuestro sindicato además de la defensa de derechos laborales presta un servicio mutualista de ayuda a sus afiliados en distintas
situaciones.
Australia – MEAA
Yes, Equity Foundation is now an established “brand”, an incentive for performers to retain a membership through lean periods. Collection
and disbursement of performers’ residual fees. A disciplined commitment by the organising team to on-site cast meetings as early as
possible in a company’s work schedule – all casts across all areas of live and recorded performance.
Yes, examples: we grant members advice by a lawyer with fixed times, we organize seminars
Azerbaijan – CWU
Yes
Oui, on fait des publications
Brazil – SATED/ES
Si
Brazil – SATED/MG
Si, las indicadas arriba
Brazil – SATED/RJ
Si, estamos llamando de vuelta las personas que hace mucho Estaban sin contribuir con lo sindicato. Estamos perdonando parte de la
deuda así recebemos parte de lo que era debido y ganamos para los años futuros. Además son más miembros para el sindicato.
Canada – CAEA
Yes. Membership related: In 2011, we had a dues referendum that failed. An increase in dues requires a 66% approval rate and we only
reached 58%. In February of this year, we had another referendum which was successful. We did a number of things differently, including
proposing a simpler formula for the increase than proposed in 2011. In 2011, we held “on line” meetings with members that we were very
badly attended whereas in 2014 the Executive Director and the President toured the country meeting with members. We also used an idea
we heard from SAG-AFTRA and identified “opinion makers” in each region of the country and enlisted their help to make public statements
on our website and through Facebook.
Bargaining: We had a very bad relationship with our producers association which led to a breakdown in bargaining in 2009. In 2012, we took
a completely different approach and organized 4 half day sessions with their negotiating team, where each side had the opportunity to
discuss 4 issues of concern to them. The rule was that anyone could say anything and it would not be held against them, form part of a
grievance or be considered a commitment in bargaining. Furthermore, no one was allowed to even bring a copy of the collective agreement
into the room. This process created a level of trust between the two parties, and showed us where we would be able to find agreement on
issues previously considered to be too difficult or lengthy to address in bargaining. As a result, the actual negotiations were conducted in an
extremely collegial manner and both sides achieved significant changes they had been hoping to make for years. That working relationship
has continued ever since and we intend to use the same process this fall in preparation for bargaining early next year. Technically, we used
“Interest Based Negotiation” techniques without using the third party facilitator. These techniques were developed at the Program in
Negotiation, Harvard Law School.
Canada – ACTRA
Yes, member run union, proactive best practice governance model, strong Local and National coordination with National collective
bargaining
Chile – SIDARTE
Nuestro Sindicato trabaja bajo un proyecto sociopolítico que aborda estrategias separadas para el sector teatral y el audiovisual,
entregamos una serie de materiales de apoyo para el socio, tarifas sugeridas, instructivo de contratación , realizamos Escuelas sindicales
de formación y diálogos sociales con empleadores.
Colombia – CICA
Sí, afiliación a la seguridad social, a los servicios que presta el sindicato, a los beneficios que recibe por lo que ha hecho el sindicato.
Yes, our president is always invited to the annual meeting of the Professional Theatre Directors Association and we work closely with them
throughout the year.
124 Denmark – DAF
Yes, our focus is very much on the individual member. All our activities are deeply rooted in our values. These values have existed in many
years but have in the recent years been developed and employed strategically in all layers of the organization.
Ecuador – FENARPE
Si, la entrega de una licencia nacional de trabajo
France – SFA
Oui, assemblées générales périodiques dans les différentes régions, stages de formation syndicale, débats publics organisés par le SFA,
réunions d’information sur des thèmes spécifiques ayant trait aux droits des artistes interprètes…
Germany – GDBA
Yes, special services for members: Most important are free legal advice and legal protection. Homepage with a member-area with collective
agreements, online guides and other information. Free access for members to the online version of our yearly published Deutsches BühnenJahrbuch – a catalogue with full information (e.g. contact details) about almost all theatres in Germany, Austria and Switzerland. Monthly
union-magazine that is free for members. Opening up to new developments, e.g. to the growing number of freelancers within the union.
Yes, as per 34
Kazakhstan – CWU
Yes, the CSMWU Head Office has consistently focused on maintaining close contact with the Union locals active in the live performance
sector, including by arranging meetings with the rank and file members and activists, trade union training seminars and workshops, etc.
Kyrgyzstan – CWU
The Head Office of the Cultural Workers’ Union has consistently focused on being in close touch with the CWU locals active in the live
performance sector, including by arranging meetings with the rank and file members and activists, trade union training seminars and
workshops, etc.
Latvia – LKDAF
Yes, services, Member’s Card as discount card
Madagascar – AATM
Oui, services offerts aux membres qui se trouvent dans des situation difficiles. Stratégie de recrutement des membres par la création des
amis du théâtre.
Nepal – FAAN
We have offered life insurance, medical coverage, emergency support (financial and other), advocacy for the government policy, dispute
settlement between the performer and the employer.
Norway – NSF
Yes
Norway – NoDa
Yes, we try to have close contact and a short way for the members to reach us.
Panama – UNAP
Si, apoyo laboral cuando existen oportunidades.
Peru – SAIP
Hemos mejorado la información al afiliado, utilizando mas las redes sociales, hemos relanzado nuestra nueva pagina web que será mas
activa donde publicaremos lo concerniente a la bolsa de trabajo, los convenios que tiene la institución; hemos mejorado la comunicación
entre los directivos, hay mas llegada, como decíamos en la pregunta anterior estamos acudiendo a las escuelas de formación para
capacitar al egresado de esas casa de estudios, entre otras acciones.
Poland – ZZAP
Yes
Russia – RCWU
Yes, CWU branches in theatre companies tend to be general and cover all trades and professions within a company; craft-based branches
are few and far between, but they do exist, e.g. in the Bolshoy Theatre (craft branches bringing together ballet dancers, musicians, opera
singers…). Slovenia – GLOSA
Yes, there are plenty of them…
Sweden – TF
Yes
125 Yes, we are responsible for the collective bargaining for recorded Performances. We are now in the course of a lot of internal reorganization.
Turkey – AUT
Yes
Turkey – CASOD
We are not a union. But our database informs our members do lead to certain productions finding them with employment opportunities. Our
Film – Theatre Festival presence scheme bring actors in touch with the industry and employers, and give them a chance to take part in
industry-profession related workshops offered under the festivals.
Ukraine – CWUU
Yes, CWU branches in theatre companies tend to be general and cover all trades and professions within a company.
UK – Equity
Yes, the union has adopted an organising approach called Organising for Success, a policy and strategy have been adopted. Council has
developed overarching policy priorities for 2014 and the campaign-coordinating group has developed a campaigning guide and poster for
use with activists, branches and committees.
USA – AEA
Yes
Uruguay – SUA
Si, convocatorias permanentes a la participación. El sindicato subvenciona un comedor sindical que funciona en la sede. El centro cultural
es un espacio de puertas abiertas a propuestas y necesidades de los afiliados. Contactamos frecuentemente con la masa afiliada a través
de asambleas.
36. Have you encountered any legal/other limitations (e.g. employment status) regarding internal organisation?
Did not answer the question: Estonia – ENLIIT; Japan – JAU; Paraguay – CEPATE; Sweden – TF
Organisation
Argentina – AAA
Australia – MEAA
Yes
No
X
X
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
Canada – ACTRA
X
X
Chile – SIDARTE
X
Colombia – CICA
Denmark – DAF
X
In the case of recent legislation around union governance, yes. Outcomes from the
current Royal Commission into Trade Union Governance and Corruption (a politicallymotivated exercise aimed at discrediting all unions and diluting their influence) may
present further obstacles to union organising and maintenance of best practise by
producers/employers and unions alike.
X
X
X
X
X
X
X
X
Based on provincial labour jurisdictions (How Canada is organized) we are
considered a trade union for the purpose of bargaining in certain provinces and in
others it’s voluntary recognition from the employer organizations
Nuestro Sindicato es Interempresa (varios empleadores) esta figura en Chile está
restringida en la negociación colectiva lo que debilita el accionar del sindicato,
además en el sector teatral carecemos de empleadores organizados por lo que el
diálogo se dificulta
X
X
Denmark – DSF
X
Ecuador – FENARPE
Finland – FNL
France – SFA
X
X
X
Georgia – ICSTEU
Germany – GDBA
X
Greece – SEI
X
Hungary – SDS
X
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway - NSF
Specify
Only in the cases concerning contract problems occurred among our members.
We have not experienced legal difficulties regarding our internal organisation. We
have, however, experienced (in recorded media) that our ability to represent our
members has been challenged with reference to their alleged status as selfemployed.
As our members are not generally employees for the purposes of taxation, there is
some question as to whether or not they are then considered employees under
labour law and able to benefit from the protections and systems in place through that.
Nous n’avons pas la possibilité de percevoir directement les cotisations des
adhérents sur les salaires versés aux artistes et nous pas de droit de regard
systématique sur les contrats des artistes interprètes. Seule la démarche individuelle
des artistes peut nous permettre d’avoir connaissance du comportement des
employeurs.
X
Especially solo-performers are very mobile and thus it is quite difficult to keep contact
with them and to organize them. Because GDBA is organizing quite different artistic
professions it is sometimes hard to sensitize our members for the needs of other
interests than their own. Very often performers don´t want to take their employer or
client to court because they are afraid of getting less job-offers in the future. This
circumstance increases the more performers work as freelancers. It is therefore hard
to explain the need for union-membership.
Our constant concern is to change the Union’s statutes, in order to be more flexible
and to be nearer the new era. But to achieve this, a general assembly of 50% of our
members is needed. And this has never been possible to this day.
X
There is a ban on negotiating rates for advertisements but these performers tend to
be involved on other projects so it does not really affect membership levels
X
X
X
X
X
X
Cf explication de la situation des artistes mentionnée précédemment
La non reconnaissance du métier artistique dans la majorité des textes juridiques
X
X
The earlier mentioned self-employed status and the strict competition authorities are
a problem. Especially when it comes to be valuable: helping self-employed with
(advice on) pricing, wages, etc. And collective bargaining for self-employed.
X
X
127 Norway – NoDa
Panama - UNAP
Peru – SAIP
Poland – ZZAP
Portugal - STE
Russia – RCWU
Slovenia – GLOSA
Turkey – AUT
X
X
X
X
X
X
X
X
X
X
X
X
Turkey - CASOD
Ukraine – CWUU
UK – Equity
X
USA – AEA
Uruguay – SUA
X
Tratan de seguir las reglas.
Tenemos algunas limitaciones jurídicas con respecto a nuestra ley, siempre nos
quieren sacar la vuelta los empresarios interpretando la ley a su antojo, por eso
hemos participado en una mesa de trabajo convocada por el congreso de la
republica para modificar algunos artículos de la ley del artista, el proyecto ya
terminado ha pasado a comisiones donde se discutirá.
X
X
According to Trade Union Law in Turkey, only a worker/employee can be a trade
union member. A trade union has to organise 3% of the workers in the sector which it
operates in order to have the right for collective agreement. We have 1.165 members
but in Ministry of Labour's data, the figure is shown only as 40 members because of
the Social Security Institution's data, Having 4A social security insurance is a
condition to being a trade union member.
Not specific, but we are bound with the limits of laws related to NGOs.
The UK has one of the most draconian anti-trade union legal frameworks in Europe.
In addition the Equity Rules limit us to taking action that is in the 'professional
interests' of members, that is within the law and that is non-party political. Issues
relating to employment status and competition law can limit the union's ability to set
rates, terms and conditions outside collectively bargained agreements.
X
El contexto de empleo es altamente informal. El afiliado muchas veces opta por las
contrataciones informales ante el temor de perder el trabajo.
128 FUNDING OF LIVE PERFORMANCE
37. What are the main sources of funding for live performance in your country? Rank them in order of importance (with “1”
meaning the most significant and “7” meaning the least) and indicate the trends over the last 5 years:
Did not answer the question: Denmark – DAF
Argentina: AAA
Rank
1
2
3
1. Public sources – national level
2. Public sources – regional level
3. Public sources – local level
4. Public sources – lottery
5. Private / commercial funding
6. Sponsorship
Trends
7
Australia: MEAA
Rank
Trends
6. Sponsorship
Other: There is a range of sources for funding, but the survey participants are not in a position to provide answers with certainty. This highlights a lack of
credible research into this area in recent years.
6. Sponsorship
Rank
1
1
1
7
3
3
Trends
Increase
Increase
Increase
Decrease
Increase
Increase
Rank
1
Trends
Increase
Increase
Azerbaijan – CWU
6. Sponsorship
2
3
Decrease
Rank
1
2
3
Trends
Stable
Stable
Stable
Rank
1
4
6
3
6
Trends
Decrease
Decrease
Decrease
Decrease
Decrease
Belarus – BSAG
6. Sponsorship
6. Sponsorship
129 Brazil – SATED/ES
6. Sponsorship
Rank
4
4
4
Trends
Increase
Increase
Increase
7
Stable
Rank
1
1
1
Trends
Stable
Increase
Stable
6
5
Decrease
Brazil – SATED/MG
6. Sponsorship
7. Other
Brazil – SATED/RJ
Rank
2
3
1
6. Sponsorship
Trends
5
6
Cameroon – SCAS
6. Sponsorship
Rank
6
5
6
4
4
4
Trends
Stable
Stable
Stable
Increase
Increase
Stable
Rank
1
2
3
Trends
Stable
Stable
Stable
5
4
6
Decrease
Decrease
Increase
Rank
1
2
3
7
5
3
7
Trends
Decrease
Decrease
Decrease
Stable
Decrease
Stable
Rank
1
1
4
1
6
7
Trends
Increase
Stable
Stable
Increase
Stable
Stable
Canada – CAEA
6. Sponsorship
7. Other
Canada - ACTRA
6. Sponsorship
7. Other
Other: Self-funded
Chile: SIDARTE
6. Sponsorship
130 Colombia: CICA
6. Sponsorship
Rank
3
Trends
Increase
3
Stable
Rank
1
1
1
Trends
Decrease
Decrease
Decrease
7
7
Stable
Stable
Rank
1
1
1
7
7
3
Trends
Decrease
Decrease
Decrease
Stable
Increase
Stable
Rank
6
6
7
7
3
3
Trends
Increase
Decrease
Decrease
Decrease
Stable
Stable
Rank
1
4
4
7
6
6
Trends
Decrease
Stable
Stable
Stable
Stable
Stable
Rank
1
Trends
Czech Republic: HA
6. Sponsorship
Denmark: DSF
6. Sponsorship
Ecuador: FENARPE
6. Sponsorship
Estonia: ENLIIT
6. Sponsorship
Finland: FNL
6. Sponsorship
7. Other
1
1
7
1
Other: Theatre funding is in average: 1/3 state (half lottery and half budget), 1/3 communal and 1/3 tickets
France: SFA
6. Sponsorship
131 Rank
2
1
1
Trends
Decrease
Decrease
Decrease
3
7
Stable
Georgia: ICSTEU
Rank
1
1
1
7
7
1
6. Sponsorship
Trends
Increase
Stable
Stable
Decrease
Stable
Increase
Other: The public funding has been stable but insufficient. Sponsorship funding is quite rare. Funding from other sources mentioned above has been
insignificant or negligible.
Germany: GDBA
6. Sponsorship
Rank
5
1
1
7
2
4
Trends
Increase
Decrease
Decrease
Stable
Stable
Stable
Rank
2
3
4
6
1
5
Trends
Decrease
Decrease
Decrease
Decrease
Stable
Stable
Rank
1
2
2
2
7
2
Trends
Increase
Decrease
Decrease
Stable
Rank
1
6
6
5
5
5
Trends
Decrease
Decrease
Decrease
Stable
Decrease
Decrease
Rank
2
2
1
2
4
4
Trends
Increase
Decrease
Decrease
Decrease
Decrease
Decrease
Rank
1-3
1-3
1-3
Trends
Stable
Stable
Stable
Greece: SEI
6. Sponsorship
Hungary: SDS
6. Sponsorship
Increase
Ireland: SIPTU / IE
6. Sponsorship
Japan: JAU
6. Sponsorship
Kazakhstan: CWU
6. Sponsorship
4-5
4-5
132 Kyrgyzstan: CWU
Rank
1-3
1-3
1-3
6. Sponsorship
Trends
Stable
Stable
Stable
4
Other: The public funding has been stable but insufficient. Sponsorship funding is quite rare. Funding from other sources mentioned above
has been insignificant or negligible. Latvia: LKDAF
6. Sponsorship
Rank
1
3
2
6
6
4
Trends
Decrease
Stable
Stable
Decrease
Stable
Stable
Rank
Trends
6
3
Stable
Decrease
5
Stable
Rank
1
Trends
Stable
2
Stable
Rank
2
4
3
5
6
4
Trends
Increase
Stable
Stable
Decrease
Decrease
Stable
Rank
6
6
7
Trends
Stable
Stable
Stable
Rank
2
6
1
5
3
4
Trends
Decrease
Decrease
Decrease
Increase
Increase
Decrease
Madagascar: AATM
6. Sponsorship
Moldova: SICRM
6. Sponsorship
Morocco: SMPT
6. Sponsorship
Nepal: FAAN
6. Sponsorship
6. Sponsorship
133 New Zealand: Equity NZ
6. Sponsorship
Rank
5
5
3
5
3
4
Trends
Stable
Decrease
Stable
Stable
Stable
Stable
Rank
1
1
1
1
4
4
Trends
Increase
Increase
Stable
Increase
Stable
Increase
Rank
7
5
6
1
1
1
Trends
Stable
Decrease
Increase
Stable
Stable
Stable
Rank
7
7
7
7
7
7
Trends
Stable
Stable
Stable
Stable
Stable
Stable
Rank
1
6
2
7
5
7
Trends
Decrease
Stable
Decrease
Stable
Stable
Stable
Rank
6
6
6
7
1
3
Trends
Decrease
Decrease
Decrease
Decrease
Stable
Decrease
Rank
1
1
1
Trends
Stable
Stable
Stable
5
Increase
Norway: NSF
6. Sponsorship
Norway: NoDa
6. Sponsorship
Panama: UNAP
6. Sponsorship
Paraguay: CEPATE
6. Sponsorship
Peru: SAIP
6. Sponsorship
Poland: ZZAP
6. Sponsorship
134 Portugal: STE
6. Sponsorship
Rank
1
Trends
Decrease
2
7
3
4
Stable
Decrease
Decrease
Decrease
Rank
2
2
3
4
6
6
Trends
Rank
1
2
3
Trends
Stable
Stable
Stable
4
5
Stable
Stable
Rank
1
1
1
7
6
5
Trends
Decrease
Decrease
Decrease
Stable
Decrease
Decrease
Rank
4
2
2
4
4
1
Trends
Stable
Decrease
Decrease
Stable
Decrease
Decrease
Rank
4
2
1
Trends
Decrease
Increase
Increase
5
Stable
Rank
7
1
1
2
Trends
Stable
Decrease
Stable
Decrease
2
Increase
6. Sponsorship
Russia – RCWU
6. Sponsorship
Slovenia: GLOSA
6. Sponsorship
South Africa: SAGA
6. Sponsorship
Sweden: TF
6. Sponsorship
Switzerland: SBKV
6. Sponsorship
Other: Often the decrease comes from the growing number of producers/theatres. On national level only touring free groups/fringe are subsidized.
135 Switzerland: SSRS
Rank
6. Sponsorship
Trends
2
1
3
4
4
Turkey: AUT
6. Sponsorship
Rank
1
1
1
3
3
3
Trends
Rank
1
7
2
7
3
3
Trends
Decrease
Stable
Increase
Stable
Decrease
Decrease
Rank
1
2
3
Trends
Stable
Stable
Stable
4
5
Stable
Stable
Rank
2
3
1
3
3
6
5
Trends
Turkey: CASOD
6. Sponsorship
Ukraine: CWUU
6. Sponsorship
UK: Equity
6. Sponsorship
7. Other
Other: Local authority funding is the most significant source of funding for arts and culture in the UK. It is discretionary and local authority funding for arts
and culture has been slashed and arts budgets remain at risk. National level arts funding is significant and Arts Council budgets have been cut, resulting in
hard funding choices and 100% cuts to some companies. Lottery funding is becoming more significant as it is used to plug funding gaps. Philanthropic
donations which I have assumed to be 'Sponsorship' are not the solution to the funding crisis and have been very much centred in London and on the UK's
major cultural institutions. Crowdfunding is being used to generate revenue as arts budgets are cut. I have ranked 'Other' to include the new Theatre Tax
Credit which will become a very significant source of funding for theatre as it is rolled out later this year.
USA: AEA
Rank
Trends
6. Sponsorship
7. Other
Other: We have no way of knowing this, as employers are not required to share this information. However, most not-for-profits would probably say more
than half of their income comes from private and/or public funding, with the rest coming from ticket sales, including season subscriptions. Commercial
theater is funded initially by investors, and the vast majority of income is from ticket sales, with some from ancillary activities, like sales of promotional items,
CDs, t-shirts, etc. The most recent research by the major not-for-profit organization is from 2011:
http://www.tcg.org/pdfs/tools/fiscal/TakingYourFiscalPulse_Fall2011.pdf (not working)
136 Uruguay: SUA
Rank
5
6
6
7
4
5
6. Sponsorship
137 Trends
Stable
Stable
Stable
Stable
Stable
Stable
FUNDING OF LIVE PERFORMANCE - Public funding
38. How is public funding allocated between established theatre companies and, on a project-basis, to smaller companies and
initiatives? Are there any trends in this respect?
Did not answer the question: Azerbaijan - CWU; Brazil – SATED/RJ; Denmark – DAF; Denmark – DSF; Estonia – ENLIIT;
Madagascar – AATM; Switzerland – SSRS; Turkey – AUT
Argentina – AAA
A través del INSTITUTO NACIONAL DE TEATRO a nivel Nacional creado por la Ley 24,800 de Teatro
Australia – MEAA
Funding to the small to medium sector has dropped off in recent budgets at a Federal level, and also in a number of state budgets.
The public funding is separated in Austria between the Government funding (Bund) and the funding of the federal countries, cities and
communities; most funded are the big theatres and famous festivals in Austria,
The small theatres and free initiatives face problems with the public funding – less money or no money and a huge administrative work, the
trend is that also the public authorities have a restrictive funding policy, because of financial problems.
Belarus – BSAG
Public funding is allocated to established theatre companies. The Presidential Endowments set up in order to support young talent and to
promote arts and culture offer grants to support individual projects developed by established companies, as well as to support smaller
companies and initiatives.
Ce sont des commissions officielles qui font des propositions, le ministre décide
Brazil – SATED/ES
Se reparten a través de premios
Brazil – SATED/MG
Se asigna por los mecanismos de leyes de incentivo a la cultura los proyectos específicos.
Cameroon – SCAS
Par subvention et par projet
Canada – CAEA
Most public funding in Canada is awarded through a peer review or jury basis. The larger the organization, the smaller its dependence on
government support is. For example, the largest theatre company gets less than 10% of its annual revenue from government sources. The
largest ballet company receives 22% and the largest opera company receives 19%. The majority of their revenues come from ticket sales,
with donations and sponsorships the next largest revenue source.
The largest national government funder, the Canada Council for the Arts, has recently reallocated funds from larger theatres to smaller ones,
based on the premise that larger theatres are better able to access philanthropy or other donors or sponsors. Grants are available for
individual productions as well as for operational funding (usual for a three year period) and play development. There are also grants
available to individual artists to assist them with an individual project or exploration. Grants exist for both individuals and theatres to assist
with touring or for international co-productions. Lastly, there are grants available to organizations that service the arts community. Specific
grants are available to members of Canada’s First Nations.
2011-2012 to 2012-2013 – Arts organizations: Operational support decreased by 1%. Project support increased by 1%.
2011-2012 to 2012-2013 – Individual artists: total grants increased by 1%. Support for creation and production activities decreased 13%.
Travel grants to professional artists increased by 3%
In 2011-2012 to 2012-2013 funding to Dance and theatre disciplines decreased by 0.03 and 0.05% respectively (monies diverted to other
priorities).
Federal funding of the Canada Council has decreased 9.4% in dollars adjusted for inflation since 2003. Funding has decreased by 13.2%
from a 10-year high in 2007-2008 (calculated in 2012-2013 dollars).
http://canadacouncil.ca/~/media/files/research%20-%20en/2012-13%20provincial%20profiles/national%20overview-en.pdf?mw=1382
The most recent Statistics Canada report (for 2009-2010) indicates that funding increased slightly but is barely keeping up with inflation.
http://www.statcan.gc.ca/pub/87f0001x/2012001/part-partie1-eng.htm
Report noting that fiscal restraint priorities for provincial and territorial governments made for flat-lined cultural budgets in 2012/13.
http://www.socialsciences.uottawa.ca/governance/eng/publications.asp
Canada – ACTRA
Defer to Canadian Equity
Chile – SIDARTE
En este momento solo Fondos concursables.
138 Por eso se realizó la redacción de una Ley sectorial de Artes Escénicas, uno de los proyectos primordiales de nuestro actual proyecto
sociopolítico.
Colombia – CICA
A través de convocatorias se presentan proyectos y dependiendo de su evaluación entran o no al programa.
Established companies are funded by mostly 4-year grant, mostly regularly renewed. Projects are funded by grants. There is a trend to
decrease the level of financing.
Ecuador – FENARPE
Se mantiene estable
Finland – FNL
Small groups get very little funding from state and almost nothing from communs.
France – SFA
Il y a plusieurs types d’aides. Les aides aux projets, à la production et à la diffusion et des conventionnements en général sur trois ans. Ces
types d’aides existent à tous les niveaux : national, régional et local.
En général les théâtres établis bénéficient de conventions mais ce peut-être le cas pour des compagnies sans lieu également.
Georgia – ICSTEU
Established theatre companies get much more public money than smaller ones.
Germany – GDBA
The public expenditure on culture in Germany added up to 9.6 billion euros in 2010.
All in all Germany’s city and state theatres sell every year around 35 million tickets to the people. Around 500 million euros they earn through
ticket-sales, the state gives about 2,2 billion euros.
The State and City Theatre are financed almost exclusively by the municipalities and provinces. They operate a repertory-production-system
with firm, paid according to collective agreements ensembles and a different production on the playing schedule almost every day. It is a
trend since the 1990s that this stemming from the federal structure of Germany type of theatre eroded in many regions under the financial
pressure on the public purse.
Three crucial factors characterize the appearance of publicly funded theatre in Germany: Multi-genre theatre, repertory and ensemble. The
multi-genre theatre offers under one roof a wide artistic range of drama, musical theatre (opera / operetta / musical) and dance. Beyond
these categories, there is still the puppet theatre as well as the children’s and youth theatre.
The houses play in the standard repertoire a variety of different productions in one season. This repertoire is supported by several new
productions per season supplemented (on large multi-section stages twenty or more productions). Thus, viewers are given the opportunity to
meet a wide range of dramatic literature in a diverse variety.
The repertoire-system requires the need to work with an ensemble that is fixed to the particular theatre. Otherwise it would not be possible to
realize the diversity of the repertoire. This ensemble characterizes the distinctive artistic profile of the house. That is why building and
maintaining an ensemble for a theatre is particularly important. Specifically, the city and state theatres and regional theatres, but also some
private theatres have a solid group of actors, singers and dancers who are usually engaged for several years.
An exciting and versatile production-range is found by the audience in the numerous private theatres. Unlike the publicly funded theatre they
show often a single piece over several weeks before they once again present a new staging. This en-suite or stagione system also can be
found in the musical venues that offer their pieces mostly unchanged for several years.
Because of the federal structure of the Federal Republic of Germany, the culture is primarily a task for the federal states. The theatre funding
is therefore carried about half of the states and municipalities. The federal government contributes to the financing of culture only to a
comparatively small extent. Overall, the public sector pays about 2,2 billion euros for the publicly funded theatres and orchestras. This
amounts to approximately 0.2 percent of the total expenditure of federal, state and local authorities. The own revenues of the theatre are
very different depending on the playing schedule. With this budget the theatres and orchestras directly employ about 38,000 people and
indirectly also safeguarding the jobs of many businesses that rely on the orders of the theatre or benefit from the existence of the cultural
institutions. A large part of the public money flows so back to the public sector in the form of taxes (so-called indirect profitability).
Many theatres and orchestras are supported by sponsors. However, one must know that the contributions from private sponsors account for
only a fraction of the required resources and the commitment of the government cannot be replaced. Only one per cent of the theatre
funding comes from private funds, particularly prestigious projects are usually supported.
In the wide field of independent theatre one finds groups, individual artists and independent theatre houses. Their financial support is limited
in most cases and is regularly inspected by juries.
Institutions and established theatre groups receive a basic financial support that is limited for a few years. The majority of free groups work is
funded on individual project applications, mostly from municipal funding systems. The two largest funding instruments in Germany are the
Performing Arts Fund of the Federal Cultural Foundation and the Capital Cultural Fund for projects with Berlin connection. The Performing
139 Arts Fund, founded in 1985, issued since 1988 11 million Euros for 2.400 projects, of which 785.000 euros in 2011 went to 79 projects. The
Capital Cultural Fund has supported since its inception in 1999 over 1.400 projects from various fields (theatre, dance, art, music, literature)
with a total of 119.5 million euros (as of June 2012). The Capital Cultural Fund assists in ensuring that the focus of the independent theatre
work in Germany is in Berlin today.
Large and in many projects cooperating institutions such as the Hebbel am Ufer Berlin, Forum Freies Theater Düsseldorf, Kampnagel or
Mousonturm Frankfurt have subsidized budgets that ensure essentially the technical operation of the houses. For artistic work always anew
public and private funding will be recruited with the invited groups. A targeted higher funding of such venues from federal funds is blocked
through the federal system of Germany (Kooperationsverbot – prohibition of cooperation forbids the federal government to get financially
involved in areas where the countries are solely responsible).
With their impulses artists from the independent scene keep pushing into the public-theatres since quite a while. The cost pressure on the
city and state theatres provides an additional incentive to cooperate with cheaper producing freelance artists. With the new fund “double
pass” the Federal Cultural Foundation supports such cooperation of the houses in public ownership with free groups. The “dual system” of
Germany is transformed mildly into a diverse network of exchange relationships. The effects on the performers contracts are sometimes
difficult to handle.
Since the nineties exists this parallel system of independent theatre production which includes artists, artist groups and production houses. It
is supported by local, state and federal funding structures and there are specialized festivals in which independent theatre can function,
although subsidies are still not high enough to guarantee proper payment for performers. False self-employment is a huge problem.
The total funding of independent theatre is not included in the statistics, but is probably a total well below 100 million euros per year.
Greece – SEI
During the economic crisis (since 2010) all public subsidizing of theatres have been suspended (although never officially abolished; many
companies are still waiting for money owed to them from previous years’ subsidizing). National Theatres are still funded, but with lower and
lower budgets each year.
Before this period, a special committee, appointed by the state, judged every year the eligibility of various companies for the subsidizing
program. The funding allocation was the following: About 6 established repertory companies were subsidized on a 2-year-basis for certain
productions, receiving sums of 40.000-80.000 euros as funding. And about 50 smaller companies were subsidized on a yearly-project-basis,
receiving 1.000-10-000 euros.
Today, most previously subsidized companies have ceased to exist, and others try to survive lowering their budgets dramatically, or in more
commercial ways.
Hungary – SDS
The public funding theatres gat the money on the official way, the others have to applay for the National Cultural Fund
There are a small number of regularly funded bodies which receive the vast majority of funding. One body in particular receives over 55% of
theatre funding. A small amount is made available for project grants for smaller companies. This amount has been increased in recent
years; but the number of regularly funded companies has also been cut dramatically (from about 30 to 5), which means that the competition
for project money has significantly increased
Japan – JAU
There are three major stands for public funding in national level; building-based public theatres from the Agency for Cultural Affairs,
established theatre companies (for qualified productions) and less established theatre companies (for creation and diffusion). After the
enforcement of ‘Theatre Act’ on 2012, the public funding slightly move to more building-based public theatres.
Kazakhstan – CWU
Public funding is mostly allocated to established theatre companies.
Kyrgyzstan – CWU
Extra public funding (at the national, regional or local level) may occasionally be allocated on a project basis in order to finance special
events (dates of special significance / anniversaries, etc.).
Latvia – LKDAF
No comment
Moldova – SICRM
Public funding is only available to established publicly owned theatre companies.
Morocco – SMPT
Suite à un appel d’offre
Nepal – FAAN
There is no public funding
We have a few big companies which are regionally spread and they are part of the so-called BIS (basis infra structure). The BIS-companies
are orchestras, nat. opera house, and theatre and dance companies. Their existence is ‘sort of guaranteed’ for a longer period. And they are
140 being subsidized by the State Government. They are the large companies.
The rest of the subsidized companies have to go to the special funds (life performance fund; education fund; etc.). They are smaller and
depending on the view of the different funds (and their policy based on their different subsidizing programs) grant the asking companies
project-based of sometimes on one or several years basis.
The trend is that the BIS is reduced. Most of the former BIS companies are now subsidized by funds. As a result of which only a small
amount of project based and other small companies can be subsidized with the remaining budgets. Although there where also bigger
companies/orchestras closed down. The budget cuts mainly resulted in a lot fewer smaller companies and far less theatre experiments and
experimental content.
Most public funding is allocated to 4 theatre companies, 1 opera company and 1 ballet company. Very little allocated to small companies.
The trend is down.
Norway – NSF
Only 10 % of the total theatre budget goes to smaller companies.
Norway – NoDa
The public theatres (theatre, there is only one small public dance company, and the national ballet) win the race! Only a small amount of the
state budget is going to the “free groups”.
Panama – UNAP
Por clubes
Paraguay – CEPATE
El 90% de las compañías se basan en proyectos específicos hay pocas compañías estables
Peru – SAIP
No
Poland – ZZAP
Stable funding for public theatres
Portugal – STE
There are 4 years funding; 1 year funding and Punctual Funding.
To the first and the second forms of funding, only established companies can apply. For punctual funding any one can apply, even the
established companies who did not get subsidies from the two others. This has been for ages and still going. No significant changes, unless
the cut of the total funding amount of 50%.
No trends
Russia – RCWU
The lion’s share of public funding (at the national, regional or local level) has traditionally been allocated to established theatre companies
and is estimated by RCWU to have stabilized at around 98 per cent, with the allocations to smaller companies and initiatives on a project
basis accounting for some 2 per cent. E.g., the Ministry of Culture has provided financial support to a project known as “Theatre+Society”,
developed by seven private and/or fringe companies in Moscow, Kostroma, Chelyabinsk, Yekaterinburg and Komsomolsk-na-Amure. The
project aims to expand the outreach of live performance to certain underserved and disadvantaged groups, such as inmates, old people,
problem teenagers, and people with disabilities.
Slovenia – GLOSA
Public resources are decreasing for last five years, established theatres get most of public resources, other participants compete at public
calls for competition.
No trends, there are limited avenues of public funding in general.
Sweden – TF
Institutions get most money
The big established theatre companies get the biggest part.
Turkey – CASOD
Other than the public funding that goes to the State and City theatres, the government has a yearly funding scheme, which is based on
project submissions. In general the established theatre companies get the most of the funds.
Ukraine – CWUU
The lion’s share of public funding (at the national, regional or local level) has traditionally been allocated to established theatre companies.
Ongoing projects such as theatre, opera and dance festivals have also been funded. A minor part of available funding is allocated to smaller
companies and initiatives on a project basis.
141 UK – Equity
The Arts Council’s and Creative Scotland decide which companies to fund as National Portfolio Organisations and which companies to fund
on a project basis via Grants for the Arts. Obviously funding decisions reflect the level of central government funding that is made available
to the Arts Councils. Local Authorities decide which companies to fund. The English regions receive a disproportionality low share of
national arts funding and this imbalance has persisted in the latest funding rounds. The Independent Theatre Council believe the trend is
away from small-scale companies towards larger organisations and that a new model of funding is required.
USA – AEA
This varies widely depending on the funding source, with each source setting its own criteria.
Uruguay – SUA
Fondos concursables. El presupuesto del que se dispone es escaso.
142 FUNDING OF LIVE PERFORMANCE – Public funding
39. Are there any requirements attached to the public funding of live performance in your country (e.g. regarding working
conditions; employment of professionals; repertoire; diversity/equality issues, etc.)?
Did not answer the question: Azerbaijan – CWU; Canada – ACTRA; Denmark – DAF
Organisation
Argentina – AAA
Australia – MEAA
Yes
Belarus – BSAG
X
Brazil – SATED/ES
Belgium-ACOD Cultuur
Brazil – SATED/MG
No
X
X
X
X
X
Canada – CAEA
X
Chile – SIDARTE
Colombia – CICA
X
X
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
X
Georgia –ICSTEU
Germany – GDBA
X
Greece – SEI
X
X
Bien sur, entre autre il faut avoir un revenu de au moins 12 %
Esta es una lucha de los sindicatos en Brasil. El incentivo no puede estar apenas en torno
del interés publico sin tener un atendimiento especial a la actividad profesional artística.
La única exigencia es tener todos los impuestos y obligaciones en día
Oui en cas de subvention pouvoir subvenir à un apport personnel, justifier d’une existence
légale.
The Canada Council for the Arts multi-year grant application states “In order to support a
plurality of voices in the theatre community and the development of audiences, the Section
encourages companies or organizations that undertake particular activities or initiatives that
involve artists from Aboriginal, culturally diverse, official language minority and Deaf and
disability arts communities to include information on these activities in their request, so that
peers can take this into consideration.” Other levels of government funding (provincial or
municipal) have similar equality statements.
Este año hemos logrado tras negociar con el estado que esto sea así.
Los proyectos deben incluir el repertorio, los elencos, los programas sobre diversidad e
igualdad y sobre la adopción de grupos, presupuestos, trayectoria, antigüedad de la
institución o del grupo.
Only where there is a collective agreement in force.
X
X
El proyecto debe ser desarrollado con un máximo de 5 meses de ejecución.
X
X
X
Une circulaire ministérielle précise que chaque subvention doit être assortie du respect du
Code du travail et des conventions collectives. Il existe également des cahiers des charges
qui oblige les entreprises concernées à respecter un accord signé par le SFA sur le volume
d'emploi et la durée des contrats des artistes interprètes. Malheureusement le Ministère ne
se précipite pas pour faire appliquer ce qu'il a édicté ou même signé avec certains
directeurs.
X
Hungary – SDS
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Not requirements in all cases per se, though a number of grant programs carry an
expectation of ticking a range of boxes including but not limited to regional touring, youth
engagement, non- English speaking background engagement, Aboriginal and Torres Strait
Islander engagement etc.
Working and social conditions must be by law
The repertoire policies are within the purview of the company management, and new
productions are usually funded by agreement with the Ministry of Culture or with regional /
local cultural agencies.
X
X
Brazil – SATED/RJ
Cameroon – SCAS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Specify
The "cultural mandate" is a legal requirement for public institutions such as mass media or
theatre, related to the "educational mission". In general, it is fairly general terms, in the
sense that "Contributions to Culture" have to be offered. The implementation of the "cultural
mandate" is up to the discretion of the institutions and is monitored and influenced by the
cultural policy.
When public subsidizing existed (before 2010), there were requirements regarding working
conditions (they had to conform with the existing collective agreements) and covering of the
social security of the employees. Repertoire was never an issue. As for diversity or equality,
they were never addressed to, in any kind of agreement; actually, they were never a real
problem.
The theatres are in categories: I. National Theatres, II. ”stressed” category theatres (most of
these are subsided by the local government, III. Independent companies.
X
X
X
X
X
X
X
Incorporation for membership companies; no political and religious purpose.
None
None
Additional: Repertoire, popularity of performances, number of visitors
Dans le domaine théâtral à Antananarivo (la capitale), la Commune Urbaine a allégé le loyer
du Théâtre Municipal qui lui appartient, et a diminué la taxe communale à 5% des impôts
sur le revenu
None
Oui, sélection par dossier et pas mérites
X
X
Arts are by means of grant-/subsidizing programs more and more part of the political
143 New Zealand – Equity NZ
X
Norway – NSF
X
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
X
Russia – RCWU
X
X
Slovenia – GLOSA
X
Sweden – TF
Turkey – AUT
Turkey - CASOD
Ukraine – CWUU
UK – Equity
USA – AEA
Uruguay – SUA
toolbox. And used for political purposes/issues such as diversity, problems with youth in
ethnic groups (cultural education as a solution), problem areas, age problems. The
politicians look at the creative industry for answers to problems such as environment,
sustainability, healthcare, fewer younger and growing amounts of older people etc. We have
heard that one fund explicitly mentioned that a budget based on wages in our collective
labour agreement was for that reason to expensive/high. We are trying to find out if there is
any truth in that.
Less to do with conditions and employment, more to do with repertoire, diversity/equality
issues. i.e. ideological rather than practical
Not when it comes to repertoire or diversity, but the public theatre has to, of course, follow
the collective agreements.
X
X
X
X
X
To use professional performers, artistic quality, and to give a report
No existe la institución
You have to fill in a document of 40 pages, where you describe the company, its historical,
the experience and knowledge of the company Directors, technicians and, if it is the case,
the performers. After that you have to explain and develop the whole project for 4 or 1 year
or the punctual projects. You have to name every professional and add his curriculum. You
have to explain the repertoire and the reasons why you have chosen it. You have to have
the accounting organised like any other company.
Public funding involves complying with certain indicative targets, such as the number of new
productions. However, it is up to the theatres themselves to shape their repertoire.
There is obligatory to be founded as public institute or natural person or legal person under
public or private law with public purpose.
X
X
X
Collective agreement
A theatre receiving public funding has to sign an agreement
Cela dépend des régions.
X
X
X
Public funding involves complying with certain indicative targets, such as the number of new
productions. However, it is up to the theatres themselves to shape their repertoire.
Although the extent to which these are enforced is difficult to measure.
This varies widely depending on the funding source, with each source setting its own
criteria.
X
X
X
144 FUNDING OF LIVE PERFORMANCE – Private / Commercial funding
40. Is private/commercial funding given to institutions on a continuing basis or is it more like sponsorship (e.g. for particular
productions or festivals)? Are there any trends in this respect?
Did not answer the questionnaire: Azerbaijan – CWU; Denmark – DAF; Denmark – DSF; Estonia – ENLIIT; Hungary – SDS;
Madagascar – AATM; Norway – NoDa; Turkey – AUT
Argentina – AAA
FESTIVALES O ENCUENTROS
Australia – MEAA
More like sponsorship. Unclear as to recent trends.
It is particular
Belarus – BSAG
Mostly sponsorship for particular productions or festivals
Le décret prévoit des périodes de 2 ans et de 4 ans
Brazil – SATED/ES
Si, festivales de teatro, cine, danza...
Brazil – SATED/MG
Todo se hace a través de las leyes de incentivo a la cultura.
Brazil – SATED/RJ
Los financiamientos privados también en su mayoría solamente existen pues el gobierno deja de cobrar de las empleas parte de los
impuestos.
Cameroon – SCAS
Comme des partenaires ou comme des mécènes.
Canada – CAEA
There is no private or commercial funding that is given on a continuing basis. Sponsorship and donor contributions make up between 25 and
30% of the largest producers, with the majority of that (80-90%) coming from individual donors. All engagers report a distinct decline in
support since the economic crisis of 2008. Further, long time supporters of arts associations are getting older and are not being replaced by
the next generation of donors. It appears that the children of long time donors are choosing to give their money to other causes.
Canada – ACTRA
More like sponsorship
Chile – SIDARTE
Para producciones o festivales específicos
Colombia – CICA
Es una forma de patrocinio para el Festival Iberoamericano de Teatro que se celebra cada dos años, la Temporada de Opera.
We have no thorough knowledge concerning the question. All the private funding goes only to the commercial field.
Ecuador – FENARPE
Mas a una forma de patrocinio
Finland – FNL
Yes, it is not been used yet.
France – SFA
Beaucoup de ces financements privés se font de façon continue mais il peut y avoir des parrainages pour certains évènements ponctuels.
Cela reste marginal dans les financements.
Georgia – ICSTEU
It is more like sponsorship.
Germany – GDBA
Many subsidised theatres and orchestras are supported by sponsors. However, one must know that the contributions from private sponsors
account for only a fraction of the required resources and the commitment of the government cannot be replaced. Only one per cent of the
theatre funding comes from private funds, particularly prestigious projects are usually supported. Private funding normally is not happening
on a continuing basis. It is more like sponsorship and particular productions or festivals are more often supported than institutions.
145 Greece – SEI
In Greece, there is no legislation favouring sponsoring (e.g. there is no tax-reduction). So, it has always been hard to find sponsors, and
today it is even harder, given the economic difficulties. As a result, occasional funding of some companies is never on a continuing basis.
A recent phenomenon is occasional serious funding by some big organisations (e.g. the Onassis Foundation, or Niarchos Foundation), but
this is never on a steady program.
Most professional theatre companies will have a sponsorship programme whereby private & commercial funding is regularly contributed on a
small scale. Larger-scale funding is typically on a project-by-project, or festival, basis
Japan – JAU
Very limited number of foundations supports for live performance sector; especially dance and theatre. Because of very low interest rate,
the support has been decreasing drastically. Sponsorship does not favour of dance and theatre, generally speaking.
Kazakhstan – CWU
It is more like sponsorship
Kyrgyzstan – CWU
It appears to be a kind of sponsorship, sometimes akin to the mechanism described in Q.38 above.
Latvia – LKDAF
It depends
Moldova – SICRM
No
Morocco – SMPT
Selon les cas, mais la majorité des financement se sont alloués selon la situation de l’entreprise mais pas de changement significatif
Nepal – FAAN
No
As far as we see: less on a continuing basis and more like sponsorships. It is harder to get commercial funding.
Private funding like crowdfunding is still small, but increasing. Also mostly project based.
Sponsorship. This has been static until very recently, with a slight upward trend.
Norway – NSF
Private sponsorship is decreasing.
Panama – UNAP
Patrocinio
Paraguay – CEPATE
La mayoría del financiamiento es para producciones específicas
Peru – SAIP
No
Poland – ZZAP
Less than in the Past
Portugal – STE
It is more like sponsorship. Mostly festivals (Theatre and Music). This kind of commercial funding is growing.
No trends
Russia – RCWU
Both kinds of funding coexist, and there doesn’t seem to be any clear-cut trend yet.
Slovenia – GLOSA
Mainly on a continuing basis
Particular productions, no trend
Sweden – TF
146 Not continuing, for special projects.
For particular productions
Plutôt de façon continue.
Turkey – CASOD
It is mostly based on particular productions or festivals.
Ukraine – CWUU
Both kinds of funding coexist, and there doesn’t seem to be any clear-cut trend yet.
UK – Equity
In the West End of London investors known as 'angels' provide a large amount of the capital invested in production. The culture is that it is
on very rare occasions that they make a profit or even have their capital returned. Funding commercial activity is a very high-risk enterprise
in the arts sector.
USA – AEA
It varies. Again, funding sources have their own criteria.
Uruguay – SUA
Son administradas por el estado debiéndose concursar previamente. El presupuesto de que se dispone es escaso.
147 FUNDING OF LIVE PERFORMANCE – Private / Commercial funding
41. What kind of projects / institutions / companies receive money from the private sector? Are there any trends in this respect?
Did not answer the question: Argentina – AAA; Azerbaijan – CWU; Denmark – DAF; Denmark – DSF; Estonia – ENLIIT; Kazakhstan
– CWU; Madagascar – AATM; Norway – NoDa; Sweden – TF; Switzerland – SSRS; Turkey – AUT
Australia – MEAA
All kinds of arts projects endeavour to receive funding from the private sector, especially with declining levels of public investment.
I have no concrete Information about that.
Belarus – BSAG
Cf. Q.40.
Je ne sais pas
Brazil – SATED/ES
Las compañías de teatro, danza y productores de cine independientes
Brazil – SATED/MG
Hay presupuestos para proyectos que tengan finalidad social, pero no es una práctica común
Brazil – SATED/RJ
No tiene un perfil.
Cameroon – SCAS
Cela varie tout dépend de l’intérêt ou de la visibilité du partenaire commercial.
Canada – CAEA
The largest corporations used to support individual engagers as well as festivals in a much more significant way. Since 2008, private sector
contributions have dropped. Smaller companies are more able to receive goods or services in some cases than actual cash from the private
sector. There is little philanthropy in Canada and very few foundations support the arts.
Canada – ACTRA
As a branding exercise the big financial institutions are looking for high profile productions to fund
Chile – SIDARTE
Sobre todo ópera y musicales
Colombia – CICA
Al Festival Iberoamericano de Teatro, Temporada de Opera
Only those in the commercial field. Not any trend is known to us.
Ecuador – FENARPE
Ferias ciudadanas y artísticas.
Finland – FNL
No
France – SFA
Tous types sont susceptibles de recevoir de l’argent privé.
Georgia – ICSTEU
Self-standing productions or festivals
Germany – GDBA
Many subsidised theatres and orchestras are supported by sponsors. However, one must know that the contributions from private sponsors
account for only a fraction of the required resources and the commitment of the government cannot be replaced. Only one per cent of the
theatre funding comes from private funds, particularly prestigious projects are usually supported. Private funding normally is not happening
on a continuing basis. It is more like sponsorship and particular productions or festivals are more often supported than institutions.
Greece – SEI
There is no trend or rule for that. As private sponsoring is occasional and sporadic, it depends on each applicant’s ability or pressure to
obtain a supporting. But in general, funding is usually done by theatre producers and/or actors themselves.
Hungary – SDS
They have to apply
148 Ireland – SIPTU / IE
Most private funding is between large-scale entities (festivals & banks, etc.) Of late there has been occasional theatre projects supported by
these large-scale funders (e.g. Corn Exchange’s tour of Man of Valour, supported by Ulster Bank). I think that these partnerships may be
slowly increasing as theatre companies shift their thinking towards this model. Certainly the Arts Council is heavily advocating a focus on
this area. We have yet to see any real developments on a smaller scale – e.g. businesses funding Fringe / independent productions.
Japan – JAU
More artistic and international merits
Kyrgyzstan – CWU
No clear-cut trends.
Latvia – LKDAF
It depends.
Moldova – SICRM
No
Morocco – SMPT
Les structures les plus organiser et professionnelle
Nepal – FAAN
None
Looks as if the more popular and bigger productions receive money easier.
Only high profile companies receive private money. Very few investors are interested in funding small projects.
Norway – NSF
The National theatres receive some money from the private sector.
Panama – UNAP
Las compañías grupales
Paraguay – CEPATE
Las comedias con figuras mediáticas y el teatro de revistas
Peru – SAIP
A manera de patrocinio cuando son obras educativas, o el evento es de calidad.
Poland – ZZAP
Question of know-how
Portugal – STE
The private sector gives money mostly to Television and Festivals. Museums, Foundations and National Theatres are also contemplated.
The trend is for stability.
No trends
Russia – RCWU
The Russian private sector tends to provide general financial support to theatres rather than to initiate or promote specific projects, or
influence the repertoire.
Slovenia – GLOSA
Mostly public institutes
Large scale musical, theatre, and some smaller productions.
Well, UBS sponsored the Zurich Opera, the Zurich Kantonalbank (a regional gives Money to a travelling theatre in the Swiss Region.
Musicals and Opera festivals are very popular with the private sector.
Turkey – CASOD
Big festival projects that allocate funds to the productions they choose get some established funding from the big entities of the private
sector. Other than that, mostly productions that include a “celebrity” or have a way of help the publicity of a product/brand etc. have more
chances to get private company funding/sponsorship.
149 Ukraine – CWUU
The Ukrainian private sector tends to provide general financial support to theatres rather than to initiate or promote specific projects, or
influence the repertoire.
UK – Equity
West End and private touring companies in particular benefit from private investment. Private donations are made overwhelmingly to
London based and national companies. The upcoming Theatre Tax Relief is designed to increase the amount of private investment,
whether it will succeed or not is a matter of speculation.
USA – AEA
It varies. Again, funding sources have their own criteria.
Uruguay – SUA
Quienes se postulen
150 FUNDING OF LIVE PERFORMANCE – Private/Commercial funding
42. Are there any requirements attached to the commercial/private funding of live performance in your country (e.g. regarding
advertising; working conditions; employment of professionals; repertoire; diversity/equality issues, etc.)?
Did not answer the question: Australia – MEAA; Brazil – SATED/MG; Denmark – DAF; Estonia – ENLIIT; Madagascar – AATM;
Norway – NoDa; Turkey – AUT
Organisation
Argentina – AAA
Azerbaijan – CWU
Belarus – BSAG
Yes
X
Brazil – SATED/ES
Brazil – SATED/RJ
Cameroon – SCAS
Canada – ACTRA
Canada – CAEA
Chile – SIDARTE
Colombia – CICA
Denmark – DSF
Ecuador – FENARPE
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
Slovenia – GLOSA
Sweden – TF
Turkey - CASOD
Ukraine – CWUU
Specify
These are mostly to do with repertoire, advertising, performers’ employment and
working conditions.
X
X
X
X
X
X
Pero en general solamente ocurre cuando han artistas muy reconocidos por la
gran media.
La cible publicitaire, le public en particulier.
No but individual corporations may have conditions attached to their donations.
Anecdotally, monies seem to not be just given outright any longer. Comp tickets
and attendance at events are now required in exchange for sponsorship dollars.
X
X
X
X
X
X
Publicidad, boletería, figuras reconocidas en los medios.
We have no such knowledge
Mostly it has to have well-known performers
Publicidad, exclusividad en la marca
A part le logo des entreprises sur les documents publicitaire
X
X
Greece – SEI
Hungary – SDS
Ireland – SIPTU /IE
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Moldova – SICRM
Morocco – SMPT
Nepal - FAAN
Norway – NSF
Panama - UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Russia – RCWU
No
X
X
X
X
Private cultural promotion complements the funding by the public sector not only
financially, but also thematically: While private promoters of culture, in particular
sponsors are more interested in individual projects and frequently oriented to the
public appeal, public promotion of culture is more focused on continuity. Private
funding happens on the regulations that these companies give themselves in the
form of sponsorship-guidelines.
Usually there is no requirement. Sometimes, it regards advertising (e.g. in
programme, or a product positioning in TV).
X
X
X
Age group
X
X
X
X
X
La qualité, la structure
X
Not sure
X
X
X
X
X
El proyecto tiene que estar bien sustentado.
X
X
X
X
Its up to the private sponsor to decide whom they want to finance.
There might be certain strings attached in terms of advertising. A law on the
patronage of the arts has just come in force (on Nov. 5, 2014) but it remains to be
seen whether it would indeed serve to meaningfully increase the
commercial/private funding of live performance.
See answer 39
X
X
X
Advertising, products in the show
That would have to be regulated by law. The Swiss want as Little regulations and
restrictions as possible. ("We can do whatever we want with our own Money etc.
etc."
X
X
X
151 UK – Equity
X
The agreements are as per between the producer and the investor. This
information is commercially sensitive and Equity does not have access to it.
If this references for-profit projects, the answer is no. The only requirements have
to do with fiduciary responsibility. They do, however, have to meet all legal
requirements as to the treatment of their employees, as well as our contractual
requirements.
USA – AEA
Uruguay- SUA
X
152 FUNDING OF LIVE PERFORMANCE - Less formal Live Performance
43. How do individual performers and small companies get funding for self-productions / free group / independent / co-operative
/profit-share / fringe / small-scale productions?
Did not answer the question: Azerbaijan – CWU; Moldova – SICRM; Turkey – AUT
Argentina – AAA
A través del INSTITUTO NACIONAL DE TEATRO – PROTEATRO Y OTROS ORGANISMOS CREADOS POR LEY A NIVEL NACIONAL Y
REGIONALES
Australia – MEAA
Personal financial investment, in-kind investment of labour and other resources
Applications for funding to the public authorities, private funding- Sponsoring etc. like mentioned in your examples above
Belarus – BSAG
These productions are mostly funded by performers’ own resources or sponsorship money. Some performers do enter into profit-share
agreements.
Surtout des demandes dans le cadre dus décret des arts
Brazil – SATED/ES
A través de premios y patrocinios
Brazil – SATED/MG
No obtienen
Brazil – SATED/RJ
Por medio de llamadas públicas.
Cameroon – SCAS
Les sources sont variées.
Canada – CAEA
Small-scale productions are more reliant on grant money than larger producers are. As a rule, they are not eligible for operational funding
and therefore can struggle to function between production funding grants. Productions are funded off personal credit cards or paid for from
box office revenues (assuming there are any).
Canada – ACTRA
Fundraising initiatives prior to production and secondly crowd sourcing.
Chile – SIDARTE
Fondos concursables o autogestión de recursos.
Colombia – CICA
Aportes personales
We cannot specify that. The only way we know of is a successful grant application for public money.
Denmark – DAF
Own investments, public funding, grants and fundraising
Denmark – DSF
Seek funding by the state and private funds.
Ecuador – FENARPE
De recursos propios de su esfuerzo y dedicación.
Estonia – ENLIIT
The Cultural Endowment of Estonia support
Finland – FNL
Stipendiums from different funds
France – SFA
Ils demandent des subventions publiques, cherchent des parrains, des promesses de programmation de leur spectacle par les entreprises
institutionnelles…
153 Georgia – ICSTEU
Information unavailable.
Germany – GDBA
In the wide field of independent theatre one finds groups, individual artists and independent theatre houses. Their financial support is limited
in most cases and is regularly inspected by juries.
Institutions and established theatre groups receive a basic financial support that is limited for a few years. The majority of free groups work is
funded on individual project applications, mostly from municipal funding systems. The two largest funding instruments in Germany are the
Performing Arts Fund of the Federal Cultural Foundation and the Capital Cultural Fund for projects with Berlin connection. The Performing
Arts Fund, founded in 1985, issued since 1988 11 million Euros for 2.400 projects, of which 785.000 euros in 2011 went to 79 projects. The
Capital Cultural Fund has supported since its inception in 1999 over 1.400 projects from various fields (theatre, dance, art, music, literature)
with a total of 119.5 million euros (as of June 2012). The Capital Cultural Fund assists in ensuring that the focus of the independent theatre
work in Germany is in Berlin today.
Large and in many projects cooperating institutions such as the Hebbel am Ufer Berlin, Forum Freies Theatre Düsseldorf, Kampnagel or
Mousonturm Frankfurt have subsidized budgets that ensure essentially the technical operation of the houses. For artistic work always a new
public and private funding will be recruited with the invited groups. A targeted higher funding of such venues from federal funds is blocked
through the federal system of Germany (Kooperationsverbot – prohibition of cooperation forbids the federal government to get financially
involved in areas where the countries are solely responsible).
Greece – SEI
This is usually done by self-funding. Very rarely, they manage to get some money from local authorities (but this is not generalized, it is
rather occasional and it depends mostly on personal contacts). Local festivals are organised, but they do not fund a project, they just “buy”
the whole product for their schedule. Otherwise, performers may find some supporting by hall-owners who include a production in their
program.
Hungary – SDS
They have to apply as well
FundIt, a crowdfunding platform supported by the government body BusinessToArts, is often used by smaller companies to raise funds for
projects. In theory this is a tool for encouraging private philanthropy and business/arts partnerships; however in the context of live
performance, this usually equates to having friends/family raise funds for the project. While it frequently raises the needed amount for a
project it rarely seems to result in sustainable funding relationships or partnerships being formed.
Japan – JAU
The Japan Arts Fund (Japan Arts Council, established in 1990), the Arts Council Tokyo (established in 2011), and the Saison Foundation,
have a channel for these companies.
Kazakhstan – CWU
No conclusive information available.
Kyrgyzstan – CWU
Information unavailable.
Latvia – LKDAF
They have to write project – to describe benefits of this project
Madagascar – AATM
Cotisation des membres et /ou demande de sponsoring dans des sociétés et des particuliers
Morocco – SMPT
Présentation d’un dossier de candidature
Nepal – FAAN
Bank loan and self-finance
Cocktail of different sources. Including trying to get from Live Performance Fund, one or more of the smaller specific funds (including the real
small ones based on a legacy e.g.), crowdfunding, personal participations, exchange of experience/man hours with other creative groups (co
create); selling of beers/project based products, etc.
Mostly they apply for local body funding or seek sponsorship. Crowd-funding often used.
Norway – NSF
Through the national arts council
Norway – NoDa
154 They apply for project funding to the Norwegian council of art, and other smaller funds.
Panama – UNAP
Cooperativas y alternativas
Paraguay – CEPATE
Fondos públicos (fondo nacional de la cultura y las artes FONDEC), convenios con Centros Culturales y auspiciantes
Peru – SAIP
El financiamiento no es en dinero, mes es publicidad, alquiler de equipos, tarjetas, boletaje, etc.
Poland – ZZAP
Luck and Friends
Portugal – STE
They apply to public subsidies, to Town Hall subsidies and try to get money from local merchants.
Public or private funding
Russia – RCWU
Mostly from the municipal (city) budget.
Slovenia – GLOSA
See 39
Some through government funding with the arts sector, lottery, sponsors, self funded.
Sweden – TF
National, and local funding
Mostly on a local Level and they apply to many foundations – and get Money from them.
Comme les autres.
Turkey – CASOD
Usually share the costs among them selves. Get in-kind help, actors/artists work for free.
Ukraine – CWUU
Mostly from the local budget and private sources.
UK – Equity
Private financing, loans, grant application to the Arts Councils and Creative Scotland and to local authorities, by entering into all sorts of
business arrangements such as partnerships.
USA – AEA
Generally, they would self-fund, seek donations, and sell tickets.
Uruguay – SUA
Postulan a fondos a autofinancian sus proyectos.
155 FUNDING OF LIVE PERFORMANCE – Less formal Live Performance
44. Is crowd-funding a source of interest for your members working in the live performance sector?
Organisation
Argentina – AAA
Australia – MEAA
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Yes
No
X
X
Increasingly so. This is encouraged by the Australia Council for the Arts.
It could be- I have no concrete information about that
X
X
BSAG is not aware of this phenomenon.
X
X
X
Aún es una practica muy discreta
X
X
X
X
X
X
X
X
X
X
X
X
X
This is of interest to companies that are quite small or quite large, whereas the mid-size
companies don't seem to be as interested. This may have to do with the amount of time
that crowd sourcing can take to manage and promote properly.
YES!
Es una tendencia que ha aparecido pero no tiene gran resonancia aún
No conocemos ese sistema
We have, so far, not received any inquiry concerning crowd-funding
But it has begun
It is not been used yet
Le financement participatif intéresse de plus en plus les personnes qui veulent monter des
spectacles. Non il n'est pas à l'origine de nouveaux défis pour les syndicats.
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
X
X
X
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NSF
Norway – NoDa
Panama - UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Romania - FAIR-MediaSind
Russia – RCWU
Slovenia – GLOSA
Sweden – TF
Turkey – AUT
Turkey – CASOD
Ukraine – CWUU
UK - Equity
USA – AEA
Uruguay – SUA
X
X
Has this created new challenges for the unions?
Crowdfunding is something quite new in Greece, and performers are not yet interested in
it, except from some occasions in cinema. Unions have not yet addressed this possibility.
Just started in Japan. Majority has not understood yet.
X
X
No comment
Grâce à ce financement les troupes et compagnies peuvent organiser des spectacles
X
X
X
X
X
X
So far, no further than training for more successful crowdfunding projects
No. At least performers are more likely to get paid.
X
X
X
X
No manejamos eso porque tampoco sabemos cómo se hace
Nunca se ha hecho
X
X
It started only in 2013.
X
X
X
X
X
X
Not yet
On a very small scale of interest.
X
X
X
X
X
X
It has not really come up, though a variation was used by a Broadway production.
No esta demasiado impuesta en Uruguay aun
156 GENDER, DIVERSITY AND INCLUSION
45. Are there particular trends and challenges in relation to the employment of women performers in the live performance sector?
How has your union responded to them? Do you have example(s) of good practice regarding women performers in your country?
Did not answer the question: Brazil – SATED/RJ; Denmark – DSF; Estonia – ENLIIT; Slovenia – GLOSA; Turkey – AUT
Argentina – AAA
No hay problemas de discriminación por género en cuanto a las oportunidades de trabajo.
Australia – MEAA
There has been much discussion about a lack of female voices on Australian stages and screens in recent years. While there are
occasional forums and peaks in the level discussion, which Equity engages with, it is unusual to see equity in casting and engagement of
female directors and other key creative roles.
The problem of women in the performing theatres exists but not official, because the law have good regulations for all Performers and also
the collective agreements, but in the reality women face problems (especially in the field of free lancers), in the collective Agreement
negotiations the Union negotiate also solutions for women.
Azerbaijan – CWU
No particular trends or challenges
Belarus – BSAG
Pas particulièrement
Brazil – SATED/ES
Aún son muy simples
Brazil – SATED/MG
La demanda de empleo se da por los tipos (física du role) solicitados en la obra, pero claro está que existen las luchas de aquellos que se
ubican como minorías. El sindicato estimula la creación de textos y guiones que ofrezcan la posibilidad de papeles que puedan contemplar
a una mayor diversidad de tipos
Cameroon – SCAS
Il y a une grande augmentation des femmes dans le domaine du spectacle vivant en particulier dans la danse.
Canada – CAEA
We are attaching some stats via email. Recent stats run to compare engagement numbers within our largest agreement show that men are
engaged approx. 55% of the time compared to women at 45%. Men and women received over scale fees in approximately the same
percentage as well.
Canada – ACTRA
Yes there are challenges and ACTRA does collaborate with Equity and other creative industry organisations to analysis and publicize the
issue. We have a very strong National women's committee.
Chile – SIDARTE
No
Colombia – CICA
No existen problemas al respecto.
The gender question has not been raised by actresses /not even by the female members of the presidium/ yet so that we are not
encouraged to deal about that.
Denmark – DAF
Not really in our area
Ecuador – FENARPE
Nuestro reto conseguir que se respalde al artista ecuatoriano.
Finland – FNL
Not any special trends
France – SFA
Le SFA a participé à plusieurs études et projets concernant l'égalité femmes/hommes. Cette est maintenant au cœur de la négociation
collective mais on peut pas dire que le situation ait changé pour les femmes artistes interprètes. Un progrès cependant: nous ne sommes
157 plus raillés lorsque nous proposons que cette question soit étudiée également artistiquement.
Georgia – ICSTEU
No particular trends or challenges.
Germany – GDBA
Equal payment for men and women is often being discussed and a rising issue. Also the small amount of women reaching higher positions
such as theatre-director. The problem with unequal payment is that there has not been a proper investigation on the actual differences yet.
Greece – SEI
Women employment have never been a problem
Hungary – SDS
No
Women do not get as many work opportunities as men, particularly so as they get older. The union does not have a strategy for this.
Japan – JAU
There is no major consideration in term of gender in this sector yet
Kazakhstan – CWU
Gender equality is upheld and protected by the Labour Code.
Kyrgyzstan – CWU
Gender equality is upheld and protected by the Labour Code.
Latvia – LKDAF
No specific challenges
Madagascar – AATM
No
Moldova – SICRM
None
Morocco – SMPT
Une constatation que les femmes réclame un traitement plus loyale pas les employeurs
Nepal – FAAN
Women performers are increasing over the period
There still seems to be little interest in this type of work by the union. We hope that the women that are successful now and who are
engaged in social issues might be willing to do something on the subject when (if?) they encounter these problems.
There is little gender discrimination. There are and have been a number of female producers/companies, directors
Norway – NSF
It is very important for our union to draw attention to this issue, by keeping the discussion alive in our organisation and in the press.
Norway – NoDa
In dance, there is still an overload number of female dancers. This creates a harder competition among the female dancers. It appears that
the female dancers get less pay, and less work, but that does not apply to everybody.
Panama – UNAP
Si porque los hombres solos que participan mas
Paraguay – CEPATE
No
Peru – SAIP
Lo normal, la mujer artista esta bien considerada y espetada en nuestro país, algunas veces es mas considerada que los varones.
Poland – ZZAP
In Poland Women have a Voting Rights before II World War and performance sector is for them very open
Portugal – STE
In life performance women compete side by side with men. The trend is equality.
158 No
Russia – RCWU
Remuneration of women performers and of their male colleagues depends on their professional abilities, skills and qualifications and does
not depend on their gender.
No trends, challenges that women over 40 have fewer opportunities for work.
Sweden – TF
We have created a gender equality check. Working with gender issues on a regular basis.
No
Employabilité pendant la grossesse.
Turkey – CASOD
Since there is no regulation for most of the actors in general in the private sector, it is difficult to talk about a specific challenge for women.
Ukraine – CWU
UK - Equity
We have done a lot of work with FIA on the challenges facing women performers in the UK. Challenges include access to work, unequal
opportunities within the live sector for women and declining opportunities for older women, the allocation of roles and the persistence of
stereotypes, issues relating to working practices i.e. anti-social hours of work, the lack of childcare etc. I would refer you to the FIA
Handbook for examples of best practice.
USA – AEA
Based on population, women (and in particular older women) are underrepresented on America’s stages. This disparity is more prevalent in
smaller regional companies that have a non-union ratio, as union performers in the cast are more likely to be men. Actors' Equity Association
has responded to these issues by reviving dormant sub-committees for women and senior performers to discuss best practices for
increasing gender parity in employment and by increasing accuracy in internal demographic data which allows hiring statistics to be tracked
more accurately.
Uruguya – SUA
Aun se pelea por las condiciones básicas generales.
46. Are there particular trends and challenges in relation to the employment of LGBTI performers in the live performance sector?
How has your union responded to them? Do you have example(s) of good practice regarding LGBTI performers in your country?
Did not answer the question: Brazil – SATED/RJ; Denmark – DSF; Estonia – ENLIIT; Norway – NSF; Norway – NoDa; Poland –
ZZAP; Slovenia – GLOSA; Switzerland – SSRS; Turkey – AUT
Argentina – AAA
No hay problemas de discriminación sexual en cuanto a las oportunidades de trabajo
Australia – MEAA
No significant research in this area, nor indeed on going discussion.
What is a LGBTI Performer?
Azerbaijan – CWU
Belarus – BSAG
Non
Brazil – SATED/ES
Su reglamentación esta en proceso
Brazil – SATED/MG
Se emplea muchísimos interpretes lesbianas, gais, bisexuales, transexuales y intersexuales
Cameroon – SCAS
Non
Canada – CAEA
We have no statistics for questions 43 to 46. CAEA’s elected Council is committed to finding ways to better serve/represent its members
from diverse communities. We are sending a copy by email of our latest magazine where the subject matter was queer theatre.
Canada – ACTRA
Yes
Chile – SIDARTE
NO
Colombia – CICA
No hay restricciones.
We don´t have any particular knowledge in this field
Denmark – DAF
Ecuador – FENARPE
Se respeta las condiciones de cada ser humano.
Finland – FNL
Not any special trends
France – SFA
Pas de défis particuliers connus ni d'exemples de bonnes pratiques.
Georgia – ICSTEU
Germany – GDBA
This particular point wasn´t discussed yet on a wider scale in the world of theatre and there were no big initiatives in that field.
Greece – SEI
In live performance sector, there has never been a discrimination against LGBTI performers. (This doesn't mean that there is no problem in
society in general...)
160 Hungary – SDS
No
The union has not really examined this
Japan – JAU
No
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
No comment
Madagascar – AATM
No
Moldova – SICRM
None
Morocco – SMPT
Pas significatif
Nepal – FAAN
Not at all
We are not aware of serious issues on this subject
Again this is not a large issue.
Panama – UNAP
Si existen clubes especiales
Paraguay – CEPATE
No
Peru – SAIP
Nosotros no tenemos discriminaciones, tenemos afiliados con diferentes tendencias.
Portugal – STE
The same goes for LGBTI. No performer has been excluded because of his sexual choice. They work nearly in every company.
No
Russia – RCWU
No trends, no blatant issue has been raised in this regards.
Sweden – TF
Working with these questions on a regular basis
No
Turkey – CASOD
Since there is no regulation for most of the actors in general in the private sector, it is difficult to talk about a specific challenge for LGBTI
actors. Although, in the public sector, it may be hard to get employment if a person is open about their choices. But there is no data, proven
cases that we know of.
Ukraine – CWUU
161 UK - Equity
LGBTI performers are often not out to their agents and feel they have to hide the sexual orientation through fear of losing out on roles and
being stereotyped. We have evidence of discriminatory casting practices and bullying is also an issue within the workplace. We ran a high
profile major campaign a couple of years ago to highlight and raise awareness of these issues which was entitled I Can Act But I Won't
Pretend. There are LGBTI film festivals and we have been pushing for employers to monitor their workforces across all the protected
characteristics, as this data will expose trends and discriminatory practices. We take individual legal claims.
USA – AEA
Overall, LGBT performers are not underrepresented in live performance. Though there is sometimes a reluctance to cast LGBT performers
playing heterosexual characters, overall the industry is welcoming to the LGBT community which is a large reason for their not being
underrepresented.
Uruguay – SUA
Aun se pelea por las condiciones básicas generales. No hay discriminación por tendencias sexuales.
47. Are there particular trends and challenges in relation to the employment of ethnically diverse performers in the live
performance sector? How has your union responded to them? Do you have example(s) of good practice regarding ethnically
diverse performers in your country?
Did not answer the question: Brazil – SATED/RJ; Canada – CAEA; Estonia – ENLIIT; Norway – NoDa; Poland – ZZAP; Slovenia –
GLOSA; Switzerland – SSRS; Turkey – AUT
Argentina – AAA
No hay problemas raciales en cuanto a las oportunidades de trabajo.
Australia – MEAA
A significant discussion playing out at the moment. The Equity Diversity committee is leading discussion in this area, and equity's 75th
birthday conference is themed largely around issues of diversity.
No
Azerbaijan – CWU
Belarus – BSAG
Non
Brazil – SATED/ES
Hay muchas compañías que trabajan con gente de diferentes etnias
Brazil – SATED/MG
El sindicato estimula la creación de textos y guiones que ofrezcan la posibilidad de papeles que puedan contemplar a una mayor diversidad
de tipos
Cameroon – SCAS
Non
Canada – ACTRA
Yes - we promote our culturally diverse membership through casting databases and promotions such as go sees etc.
Chile – SIDARTE
No
Colombia – CICA
No hay limitaciones.
As above
Denmark – DAF
Denmark – DSF
We have one Company in Denmark called Danish Danish with ethnic performers.
Ecuador – FENARPE
Finland – FNL
Not any special trends: there have been several students in theatre school that has different ethnic background
France – SFA
Certaines origines ethniques sont bien évidemment sous représentées. Cela recoupe également la question de la classe sociale. Les écoles
d'arts du spectacle sont plus souvent fréquentées par les enfants de la bourgeoisie plutôt blancs. Le SFA lutte pour que les conditions
d'accès à l'enseignement artistique ne soient plus régies par des critères économiques.
Georgia – ICSTEU
Germany – GDBA
There were big discussions recently about black facing. There is an initiative called "Bühnenwatch". Activists of this initiative have
163 demonstrated during performances, because they criticized that white performers were playing characters of other ethnics. The affected
production often explained that this was on purpose due to artistic reasons.
There is a trend now called post migrant theatre - a theatre that is done by artists that were born in Germany but have a migrant
background. One of the main protagonists is Shermin Langhoff - a woman with Turkish origins - who became just recently director of the
Maxim Gorki Theatre. One of here productions called "Verrücktes Blut" that was done in here former theatre (a small independent theatre)
became successful all over Germany.
Since a few years the whole complex of migration, integration and inclusion are major points of discussion and also often requirements of
the public entities for the concept of the playing schedules of theatres and the applicants who want to become directors of a theatre.
Greece – SEI
Ethnically diverse performer is something very rare (and very new) in Greece, because usually immigrants are not so much integrated to
Greek cultural life and language. The occasional examples of Greek-speaking non-Greek people are much sought for, and when they are
hired, they are treated exactly the same as their Greek colleagues.
Hungary – SDS
No
The union has not really examined this.
Japan – JAU
No
Kazakhstan – CWU
No particular trends or challenges. From the language and ethnic perspective, the Kazakhstani live performance sector has traditionally
been quite diverse: for instance, alongside permanent theatre companies performing in the Russian and Kazakh languages, there are the
National Uygur Musical Comedy Theatre, National Korean Musical Comedy Theatre, Republican German Drama Theatre, and a lot of other
ethnic artistic groups and teams.
Kyrgyzstan – CWU
Latvia – LKDAF
No specific challenges
Madagascar – AATM
Quelques politiciens (es) profitent l'origine ethnique de certains (es) artistes pour les avantagés(es) financièrement. La création du Syndicat
des Artistes Interprètes Malagasy - SAIM- où les membres viennent de toutes les régions est à dire de différentes ethnies est la solution.
Moldova – SICRM
None
Morocco – SMPT
Non
Nepal – FAAN
There is no challenge as such.
We haven't had examples or questions on this issue
The issue in NZ is with ethnic diversity. We live in a racially very diverse country, yet most of the media is monocultural. There is a trend and
a pressure to change this. Equity NZ has recently formed a Diversity group and we meet regularly and have a program to promote change.
Mostly it is a matter of making people aware of entrenched attitudes, once these are exposed there is openness.
Norway – NSF
In Norway we have had a huge discussion about this, there is for the moment several actors with other ethnical background in the stately
school as and result of this focus. We also have one theatre that has 4 students on a three-year education (only for students with a nonEuropean background).
Panama – UNAP
Si existen
Paraguay – CEPATE
No
Peru – SAIP
164 En este aspecto si tenemos que decir que existe la discriminación racial, hay productoras que contratan a artistas de raza blanca no
encontramos mestizos menos cobrizos, esta es una de las realidades que estamos viviendo, generalmente en los trabajos a cooperativa se
encuentran razas de todo tipo.
Portugal - STE
The same as the above goes for ethnical diversity.
No
Russia – RCWU
South Africa - SAGA
We have a large diversity of ethnic performers in SA and all of them have vast opportunities.
Sweden – TF
We have created a diversity equality check. Working with these questions on a regular basis
No
Turkey – CASOD
Since there is no regulation for most of the actors in general in the private sector, it is difficult to talk about a specific challenge for ethnically
diverse people.
Ukraine – CWUU
UK – Equity
Yes, our ethnic minority members still tell us there is discrimination in casting and work opportunities and that stereotypical casting persist.
We raise these issues and seek to address them in a number of ways including campaigning, negotiating with employers, giving individual
legal advice, taking claims and challenging funding bodies and employers to account for their record on race and by putting on outcome
focussed events i.e. casting sessions for East Asian performers.
USA – AEA
Performers of color are underrepresented on America’s stages, especially performers who are Hispanic/Latino or Asian American. Though
the union has expansive rules on Equal Employment Opportunity, Non-Traditional Casting, and Non-Discrimination, many employers are
lacking in terms of inclusive hiring and are hesitant to cast performers of color in roles where the race is not specific. Inclusive hiring is
typically best in shows that are race-specific, such as A Raisin in the Sun or The Wiz. Equity has responded by linking poor hiring diversity
with denied requests for contractual concessions and communicating with underperforming companies expressing the need for improvement
and offering resources to increase diversity.
Uruguay – SUA
Existen gestiones de inclusión cultural, sobre todo de reconocimiento a la población afro descendiente. Nuestro sindicato es muy amplio en
ese sentido. Desconocemos episodios de discriminación sexual o racial.
48. Are there particular trends and challenges in relation to the employment of performers with disabilities in the live performance
sector? How has your union responded to them? Do you have example(s) of good practice regarding performers with disabilities
in your country?
Did not answer the question: Brazil – SATED/RJ; Canada – CAEA; Denmark – DSF; Estonia – ENLIIT; Norway – NSF; Norway –
NoDa; Poland – ZZAP; Slovenia – GLOSA; Switzerland – SSRS; Turkey – AUT
Argentina – AAA
No se han presentado casos específicos de discriminación por discapacidad. También es cierto que no abundan los casos de empleo
concreto de personas en estas condiciones
Australia – MEAA
Furthering opportunities in our industry for the engagement of performers with disabilities in a mainstream context is another priority area for
the Equity Diversity Committee. Additionally, there are a number of companies whose primary focus is in this area.
No
Azerbaijan – CWU
Belarus – BSAG
Non
Brazil – SATED/ES
No
Brazil – SATED/MG
El sindicato ha formado una comisión especial para atender estas cuestiones de interpretes con discapacidad. Hay actores ciegos,
bailarines con limitaciones físicas, auditivas, etc.
Cameroon – SCAS
Non
Canada – ACTRA
Yes - we promote our physically diverse membership through casting databases and promotions such as go sees etc.
Chile – SIDARTE
NO
Colombia – CICA
No hay problemas.
As above.
Denmark – DAF
Ecuador – FENARPE
Finland – FNL
Not any special trends. There is no education for disable. Some of our members have injured and become disabled and are still working.
France – SFA
Plusieurs Théâtres travaillent avec des artistes handicapés mentaux ou physiques. Le SFA est parfois contacté pour intervenir auprès de
ces artistes et les conseillers sur leurs droits.
Georgia – ICSTEU
Germany – GDBA
There are a few groups and projects that are producing with disabled performers.
http://www.thikwa.de/theater/
http://www.theater-rambazamba.org/
http://www.nachtkritik.de/index.php?view=article&id=7410%3Ainklusionstheater-wie-geistig-behinderte-schauspieler-die-grossen-off-
166 buehnen-erobern&option=com_content&Itemid=84
Greece – SEI
People with disabilities very seldom appear on stage, and this was only in certain dance productions. Union was never involved to this,
because none of them was a professional.
Hungary – SDS
No
The union has not really examined this.
Japan – JAU
No. There are some independent companies by disabled performers.
Kazakhstan – CWU
All the aspects of their employment are regulated by the Labour Code and the law on social protection and welfare of persons with
disabilities.
Kyrgyzstan – CWU
Latvia – LKDAF
No cases
Madagascar – AATM
No
Moldova – SICRM
None
Morocco – SMPT
Pas significatif
Nepal – FAAN
There is much difficulty being faced by the performers with disability
We haven't had examples or questions on this issue
The answer to the above would satisfy this question
Panama – UNAP
No hay tendencias
Paraguay – CEPATE
No
Peru – SAIP
No hay artistas discapacitados, o mejor dicho hay discapacitados pero que no se dedican al arte, en nuestro sindicato serian bienvenidos.
Portugal – STE
There are not many cases of employment of performers with disabilities, and certainly not with problems when employed, that we know of.
No
Russia – RCWU
Several important initiatives were launched during the Soviet period and have been maintained in the post-Soviet Russia.
1) The Russian State Academy of Arts for Students with Special Needs. Set up in 1991. A publicly owned and funded institution of higher
learning catering for people with disabilities who wish to major in performing and plastic arts. Has three departments (theatre, music, and
plastic arts). Those who graduate from its Theatre Department have an option of joining a “traditional” theatre company or project, or a
project specifically involving performers with disabilities (see Para 2 below).
2) There are several theatre projects, mostly developed and supported by associations of people with disabilities. Perhaps the most widely
known one is the Moscow Mimic and Gesture Theatre, a professional theatre company set up in 1963 by the All-Russian Society of the
Deaf. This company, as well as a number of other, more recent projects, has been run essentially as a not-for-profit project, with some
support from the “public purse”.
Very few performers with disabilities have been given opportunities in the sector.
167 Sweden – TF
Starting up the work with this
No
Turkey - CASOD
Since there is no regulation for most of the actors in general in the private sector, it is difficult to talk about a specific challenge for disabled
people. But in the context of Turkey not being a disable friendly setting in practice - especially for physically disabled people to blend in in
daily life (specific elevators, settings for pavements etc.) - as a consequence, it is near impossible for disabled people to be employed in the
live performance sector.
Ukraine – CWUU
UK – Equity
Disabled performers face a number of challenges in Live Performance including overcoming discriminatory casting practices, accessing the
workplace, accessing audition and rehearsal spaces, issues relating to travel and accessible digs, qualifying for financial assistance through
Access for Work for items of expenditure incurred in a live performance career etc. We tackle these issues through awareness raising,
campaigning, negotiating, putting on events, taking legal cases etc.
USA – AEA
Performers with disabilities are, by far, the least represented demographic group on America’s stages. Performers with visible disabilities,
and in particular mobility disabilities, face the greatest challenge, as most theatres are not architecturally accessible backstage and
employers are unwilling to make accommodations. There are often small upticks in hiring of performers with disabilities when plays that have
disability-specific roles are popular, such as Children of a Lesser God and Tribes. Equity has responded to this problem by partnering with
its sister union on several initiatives to promote hiring, including the three-year Inclusion in the Arts and Media of People with Disabilities
(IAMPWD) campaign from 2008-2012 as well as having specific rules requiring accommodations to be provided to performers with
disabilities who wish to audition for Equity employers
Uruguay – SUA
No constituye una tendencia. Tenemos afiliados discapacitados.
168 TOURING AND INTERNATIONAL PRODUCTIONS - Touring
49. What is the average number of foreign productions touring in your country annually? Has this number increased or decreased
over the past five years?
Did not answer the question: Azerbaijan – CWU; Brazil – SATED/RJ; Denmark – DAF; Moldova – SICRM; Norway – NoDa; Slovenia
– GLOSA; Switzerland – SSRS; Turkey – AUT
Argentina – AAA
No es importante la cantidad de producciones extranjeras
Australia – MEAA
Cannot provide this information at short notice.
I have no information
Belarus – BSAG
A marked increase has been noted over the past five years, including within the framework of theatre festivals. No precise figures are
available to us, though.
Pas d’information
Brazil – SATED/ES
Casi ninguna
Brazil – SATED/MG
Más o menos de 10 a 30 por ano y aumentando
Cameroon – SCAS
Il n’y en a pas beaucoup en ma connaissance, sauf pour le doublage en anglais
Canada – CAEA
We have no statistics on the number of touring shows in Canada.
Canada – ACTRA
Decrease
Chile – SIDARTE
En general estas se concentran en Enero y son esporádicas en el año, la cantidad es estable en los últimos 5 años
Colombia – CICA
20 compañías que hacen temporadas muy cortas.
Foreign productions can be seen mostly at the two or three theatre festivals and we cannot specify the number of them
Denmark – DSF
No, none. Maybe one opera that’s it
Ecuador – FENARPE
Al momento en aumento.
Estonia – ENLIIT
Can’t say
Finland – FNL
I do not know. Maybe it has been growing.
France – SFA
Aucune idée. Il n’existe pas de statistiques à ce sujet.
Georgia – ICSTEU
1 or 2 productions a year
Germany – GDBA
We don´t have any information on that point.
Greece – SEI
There have been no foreign productions touring in Greece...
Except for some companies appearing as guests in Athens or Epidaurus Festivals. (But I don’t think this is supposed to be “touring in
169 Greece”).
Hungary – SDS
I don’t know
Most foreign touring productions come from the UK. The touring is usually limited to performances in the capital city and runs at about 18 per
year.
Japan – JAU
Many commercials and subsidised productions. Increased, especially for festivals.
Kazakhstan – CWU
This number has been slightly increasing.
Kyrgyzstan – CWU
Around 10 productions a year, mostly ballet and Russian drama; mostly performing at the Bishkek Opera and Ballet Theatre
Latvia – LKDAF
No comment
Madagascar – AATM
Nos membres n’ont pas encore donné des spectacles à l’étranger
Morocco – SMPT
28 films selon CCM
Nepal – FAAN
Less than 30
Not sure
3 a year, stable
Norway – NSF
We don’t know the exact number, but there might be an increasing amount.
Panama – UNAP
Ha ido en aumento
Paraguay – CEPATE
20 a 30, y esto ha aumentado en los últimos meses
Peru – SAIP
30% va en aumento.
Poland – ZZAP
Plenty
Portugal – STE
It has increased in the past 5 years, but we have no numbers.
Stable
Russia – RCWU
There appears to be no centralized database holding records of such tours, as these have been traditionally arranged within the framework
of (a) intergovernmental agreements on cultural exchanges, (b) theatre festivals, and (c) commercial projects. The overall trend seems to
have been ascending until 2014.
Perhaps 10 annually – stayed the same in the past 5 years.
Sweden – TF
Very few, mostly dance performances
Since all the touring companies that tour Germany and Austria also come to Switzerland, we have quite a few. Plus all the Musicals.
Turkey – CASOD
170 5-10, mostly under the Istanbul International Theatre Festival. There may be an increase in the productions that come to Turkey, not under a
festival organization.
Ukraine – CWUU
There appears to be no centralized database holding records of such tours, as these have been traditionally arranged within the framework
of (a) intergovernmental agreements on cultural exchanges, (b) theatre festivals, and (c) commercial projects. The overall trend seems to
have been ascending until 2014.
UK – Equity
The actual is unknown as central records are not kept, but primarily US productions are the concern in this area.
USA – AEA
In 2013, there were 112 (both English language and other languages). It has remained relatively constant.
Uruguay – SUA
Mas allá del numero la presencia de compañías extranjeras resulta gravitante en terminas económicos y publicitarios con respecto a las
producciones locales. Esta situación se ha profundizado últimamente.
171 TOURING AND INTERNATIONAL PRODUCTIONS – Touring
50. Do your members usually get the benefit of working under another union agreements when they tour abroad?
Did not answer the question: Japan – JAU; Madagascar – AATM; Norway – NoDa; Turkey – AUT
Organisation
Argentina – AAA
Australia – MEAA
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/MG
Brazil – SATED/ES
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
Yes
No
X
Unclear
When a Performer works for a longer period i.e.in a German theatre with a
collective Agreement, then he works under this conditions- it depends on the
Duration of the stay abroad; if the performer of a theatre is on a “Gastspiel of
this theatre abroad- then our Agreements are in force
X
X
X
X
X
Pero depende de muchos factores. Si otro acurso ofrece más garantías y
ventajas profesionales , por que no?
X
X
X
X
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
X
X
X
X
Denmark – DAF
X
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia –ICSTEU
Germany – GDBA
Des syndicats partenaires comme en France avec le SFA.
We have members who go to another country to work and they may or may not
be under a union agreement. However, if they are engaged by a Canadian
engager who is planning to tour outside of Canada, then we insist that our
members are covered by one of our agreements.
Because this falls to Canadian Equity
No recurren a los sindicatos. Son muy pocos los que lo hacen.
We have no knowledge of how many actors in live performance work abroad.
It´s possibly a very small number of them. I personally know only one actor who
works abroad.
Our main area is typically dominated by individual contracts, also abroad.
When performing as an actor, dancer or musician they might be covered by
union agreements but we have little knowledge of this
X
X
Beneficia su economía
X
In Nordic countries.
X
X
X
Greece – SEI
Hungary – SDS
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
X
X
X
X
X
We are rarely asked by members about touring abroad. It is more likely that our
members are going to work in a theatre in Switzerland or Austria. Both
countries have similar systems.
There is no such example yet.
No comment
X
X
X
X
Norway – NSF
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Romania – FAIR-MediSind
Russia – RCWU
Slovenia – GLOSA
Sweden – TF
Turkey – CASOD
X
Specify
X
X
X
X
X
X
X
X
We don’t know that for sure. We are sure it does happen. As well as ‘star’
actors abroad being able to negotiate above that level.
Very seldom are NZ members included in a tour from NZ. If they do so it would
be from Australia or Asia, and they would work under local contracts.
We have mutual agreements with the other Nordic countries.
Porque muchas veces los recursos son limitados
Cuando salen de gira van porque son invitados.
No data
They tour abroad under a Portuguese Individual Contract.
Dance passport
I’ve never heard of that. But possibly. That depends on the countries laws.
X
X
UK – Equity
USA – AEA
Uruguay – SUA
X
X
X
Sometimes, particularly in the US.
Other union agreements generally only apply in English-speaking countries,
and even there, sometimes, we find that our members are working without
benefit of contract. We do have reciprocal agreements with the UK, Canada,
and Australia to help with this process. Fringe Festivals generally fall outside
these practices
X
51. Do your union’s agreements apply when your members tour or work abroad?
Did not answer the question: Cameroon – SCAS; Madagascar – AATM; Peru – SAIP; Turkey – AUT
In theory
Organisation
Argentina – AAA
Yes
X
Australia – MEAA
In practice
No
Yes
X
It depends if he works for long abroad- like I mentioned
in the question 48
X
X
X
X
X
X
Brazil – SATED/RJ
Canada – CAEA
X
X
X
BSAG hasn’t had a experience in this area
X
A veces los productores hacen acuerdos directos con
sus artistas
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
X
X
X
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
X
X
Latvia - LKDAF
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NSF
Norway – NoDa
Normalmente las giras de elencos locales son
pactadas con los productores locales, haciendo el
pago en nuestro sindicato de sus salarios al igual que
todos los pagos de salarios cuando actúan en nuestro
país.
X
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Specify
No
X
X
X
X
Our members are required to be under our contract
when they tour outside of Canada. There have been
productions started in Canada with a multinational cast
and we have required all the performers to be under
our contracts.
Nobody has asked for any support concerning a
possible work abroad.
X
X
X
X
X
X
X
X
They are not touring that much
Oui si l’employeur est français
X
X
X
X
X
X
X
X
(when
touring)
X
X
X
X
X
(in respect of
individual
engagements
abroad)
X
Touring abroad was regulated (before crisis) by the
same collective agreement as working in Greece. The
extra conditions regarded the per-diem and
accommodation fees. But in practice, all this added to a
large sum of money, prohibiting the company from
touring abroad if they were not supported by the state
(which almost never happened). So, instead of keeping
the Union rules, actors had a private silent agreement
between them and the producer, usually with less perdiem fees. As for working abroad for a foreign
company, whenever this happened it meant that the
actor was planning to leave Greece forever…
But these touring opportunities are limited
X
(when
touring)
X
X
X
(in respect of
individual
engagements
abroad)
X
X
X
X
X
Nous n’avons pas de conventions collectives
X
X
When they travel with the company where they are
contracted
X
X
X
X
X
By our only touring dance company, yes. In our free
174 Panama – UNAP
Paraguay – CEPATE
Poland – ZZAP
Portugal – STE
Romania – FAIR
Russia - RCWU
Slovenia – GLOSA
Sweden – TF
X
X
X
X
(When
touring)
X
(In respect of
individual
engagements
abroad)
X
X
(When
touring)
X
X
X
When employed by Swedish employee with collective
agreement
They do, if the tour is done by a Swiss theatre that
Comes under the collective agreement otherwise no
X
X
(In respect of
individual
engagements
abroad)
X
(When
touring)
UK – Equity
X
X
USA – AEA
Uruguay - SUA
X
X
Sometimes
X
(In respect of
individual
engagements
abroad)
X
X
X
X
X
(When
touring)
We have no union’s agreements.
X
X
Turkey – CASOD
Ukraine – CWUU
X
X
X
X
groups, we do not have agreements, only indicative
fees and a standard contract. I think practice varies a
lot.
Nuestro sindicato se preocupa mucho porque los
miembros tengan lo necesario en otro país
No tenemos acuerdos
X
X
(In respect of
individual
engagements
abroad)
Only UK Theatre Touring Agreement applies when it
forms part of a contract made in the UK for overseas
work.
X
52. Do you offer any services/advices to your members in relation to performances abroad?
Did not answer the question: Madagascar – AATM
Organisation
Argentina – AAA
Yes
X
Australia – MEAA
Azerbaijan – CWU
Belarus – GBAK
Brazil – SATED/ES
Brazil – SATED/RJ
Brazil – SATED/MG
Cameroon – SCAS
Canada – CAEA
X
X
X
X
X
X
X
X
X
Canada – ACTRA
Chile – SIDARTE
X
Colombia – CICA
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NSF
Norway – NoDa
Description
Se extiende un pase intersindical para que pueda ser presentado a los sindicatos de los
lugares que visite para tener algún tipo de protección.
X
Advices, legal protection for members
In the audiovisual area, not in the live performance
Si es necesario si.
X
X
X
X
X
X
As they are under our contracts, we administer their engagement and negotiate separate
international touring conditions including accommodation, living expenses, and health
insurance etc.
Se realiza un estudio del caso y se genera nexo con el sindicato del país donde se
traslada el miembro
As above
But very limited
They can call us and we try to contact another union.
Reciben asesoramiento de otros compañeros.
X
X
X
Advice and Nordic and European connections
X
X
Our members get legal advice also when working abroad, as long as we are able get
information from a union that is member of FIA as well. Our members get legal protection
when working in Austria and Switzerland.
X
X
X
X
X
X
Advice on their entitlements and contract/collective agreement and any other associated
union participating
Writing reference letters
X
X
Nous n’avons pas des beaucoup de membres travaillant à l’étranger
X
X
In relation to a Dutch company traveling/touring abroad: yes.
X
X
X
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
X
X
X
Russia – RCWU
Slovenia – GLOSA
X
Sweden – TF
Turkey – AUT
Turkey – CASOD
Ukraine – CWUU
UK – Equity
X
X
X
No
We encourages them to be members of sister organisations. In the groups on tour abroad,
the same standard should be held as at home.
Los protege y los asesora
Con respecto a la firma de su contracto.
X
X
Legal advice when required. We recommend a contact with the local union, in case of
necessity.
X
X
X
Advice can be provided upon request of the members concerned.
We would if there was a need for this, we have not had a request for any services of
advices.
There are always questions about the form formerly known as E101
X
X
X
X
Referrals and information
Advice can be provided upon request of the members concerned.
Dancers passport, applicable insurances, tax and national insurance advice, contract
176 USA – AEA
Uruguay – SUA
advice. We have also taken legal case for disputes arising abroad either in conjunction
with the overseas union or directly in foreign jurisdictions.
If our members ask for our assistance, we will help as much as possible. If they are under
our agreements, or that of the local union, that certainly contributes to our ability to help.
X
X
53. Do you co-operate with local unions to assist your members whilst abroad?
Did not answer the question: Madagascar – AATM; Norway – NoDa; Peru – SAIP
Organisation
Argentina – AAA
Australia – MEAA
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NSF
Panama – UNAP
Paraguay – CEPATE
Poland – ZZAP
Portugal – STE
Yes
X
No
X
X
X
X
X
In the audiovisual area, not in the live performance
X
X
X
X
But it doesn’t happen very often.
X
X
X
X
X
X
With the dance passport
X
X
X
Nordic co-operation and European co-operation
X
X
X
X
We have agreements with SBKV from Switzerland and Equity from Great Britain. Our
agreement with the Austrian colleagues from GdG-KMSfB is in discussion because of
their merging with a bigger public-workers union. There are two agreements (with
Kunstenbond FNV from Holland and the American Guild of Musical Artists) from which we
don´t know if they would still be accepted if it comes to members that have problems in
that countries.
There is no such example.
X
X
X
X
Our members perform abroad very rarely, and when these tours do happen conditions are
usually agreed upon by the parties concerned beforehand.
X
X
X
X
X
We do answer questions and sometimes help Belgian members when Laurette directs
them to us. And vice versa. It might be very useful to provide for a follow up on the Dance
passport for actors and other members.
X
X
X
Si en lo que se refiere al los viáticos y hospedaje
X
X
X
With Brazil and Spain. In Brazil we had a singer member jailed for possession of drugs,
which was false. The help we got from the SATED-SP and SATED-RJ and the big
solidarity movement from Brazilian singers, led to his quick release, much more quicker
than if he had to wait for the efforts of our embassy.
Russia – RCWU
X
X
Slovenia – GLOSA
Sweden – TF
X
X
X
X
X
Good practices
El intercambio de información todavía es elemental, no sistematizada. Pero existe
relación con los sindicatos de Latinoamérica para el control de producciones que emplean
actores extranjeros.
If called upon to do so
In Austria we have only the unions of the ÖGB- we belong to a craft Union of the ÖGB
Terms and conditions of foreign tours are usually agreed upon by the parties concerned
beforehand. However, assistance can be requested if needed.
We don’t have other unions in our sector
With our dear friends from the GDBA or with our Austrian friends. We can pick up the
phone and call. And get Information, that will help us. Or they can organize a Union lawyer
and we will pay.
178 Turkey – AUT
Turkey – CASOD
Ukraine – CWUU
X
X
X
UK – Equity
X
USA – AEA
X
Uruguay – SUA
X
We haven’t yet. But we would like to if a case arises.
Terms and conditions of foreign tours are usually agreed upon by the parties concerned
beforehand. However, assistance can be requested if needed.
The Spanish union helped a dancer member last year after a series accident. The
German union helped after no pay. The Italian union worked with us regarding the
cancellation of an opera singer’s engagement. The Swiss union also assisted with a
recent case. The US and Australian unions operate Exchange Agreements with Equity
and we are in close contact with both.
In particular, with Equity UK, the two unions work together to assist each other’s
members. For example, we had a member for whom the producer did not meet the terms
of our Exchange Agreement, and their staff were able to handle this for us.
No es habitual que se nos planteen dificultades. Es fenómeno reciente que compañías
uruguayas giren al extranjero.
54. Do you have any role in relation to shows organized by foreign companies in your country (e.g. visas; employment
displacement fees, etc.)?
Organisation
Argentina – AAA
Australia – MEAA
Yes
X
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
X
X
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
X
X
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Czech Republic - HA
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
No
X
MEAA has a consultative but not determinative role in respect of entertainment industry
visas. MEAA consults with the Ministry for the Arts regarding overseas actors seeking to
enter Australia for a film or television production and with the Department of Immigration
regarding all entertainment industry visas. This role is to ensure adequate opportunities are
offered to Australians and to ensure overseas personnel are engaged on rates of pay and
terms and conditions no less than Australian standards.
X
X
X
X
Por la ley de los artistas, los espectáculos extranjeros hacen un pago de 10% del ajuste
contractual a los sindicatos cuando presentan en Brasil . Este pago es para que los
sindicatos locales en caso de necesidad puedan asistir a los artistas extranjeros si tienen
algún problema laboral u otro cualquiera
X
X
X
X
X
X
X
X
Gastos por desplazamiento a causa del empleo
X
X
X
Le SFA veille au respect des conditions minimales applicables en France et nous
intervenons lorsque les artistes ont un problème avec le tourneur ou la structure qui les
accueille, à condition bien sûr que ces artistes nous aient prévenus.
X
X
X
X
X
X
X
X
Latvia – LKDAF
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
X
X
X
X
X
Poland – ZZAP
Portugal – STE
Russia – RCWU
Slovenia – GLOSA
We are consulted by immigration officials as to whether or not the foreign performers are
displacing Canadian workers. Recent changes to immigration requirements in Canada will
make it much more difficult for foreign workers and productions to cross the border without
our consent.
We are heard as a consulting party before a work permit is issued to a circus artist. In
practise this is, however, mostly in relation to local employers employing foreign performers.
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Norway – NSF
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Specify
X
No, these issues are entirely within the purview of the Ministry of Culture and of the
receiving theatre management.
Yes. The producer must request a letter of non-objection. However, current Immigration
laws prevent us challenging any foreign employment.
X
X
X
X
X
Para el tramite de su visa deben tramitar entes el pase intersindical que lo otorga nuestro
sindicato.
X
X
X
X
X
180 South Africa – SAGA
Sweden – TF
X
X
We received a question last week from the German embassy. We could give them some
Information.
Turkey – AUT
Turkey – CASOD
Ukraine – CWUU
UK – Equity
X
USA – AEA
X
Uruguay – SUA
X
X
X
X
We have an Exchange Agreement with American Equity and with the Australian union, the
MEAA. We also work with UK Visas & Immigration and foreign companies and have the
right to object to entry clearance decisions under the Code of Practice for Performers in
Theatre or Opera or under Tier 2 and Tier 5.
On English-speaking projects, we not only provide visa support as required by law, but are
able to negotiate terms and conditions to ensure the projects are meeting area standards,
and on foreign language projects, we provide appropriate visa support.
X
181 TOURING AND INTERNATIONAL PRODUCTIONS - Touring
Did not answer the question / answered “no”: Austria – GdG-KMSfB; Argentina – AAA; Azerbaijan - CWU; Belarus – BSAG;
Belgium – ACOD Cultuur; Brazil – SATES/ES; Brazil – SATED/RJ; Canada – ACTRA; Chile – SIDARTE; Colombia – CICA; Czech
Republic – HA; Denmark – DAF; Denmark – DSF; Ecuador – FENARPE; Estonia – ENLIIT; Finland – FNL; Georgia – ICSTEU;
Germany – GDBA; Greece – SEI; Hungary – SDS; Ireland – SIPTU / IE; Japan – JAU; Kazakhstan – CSMWU; Kyrgyzstan – CWU;
Latvia – LKDAF; Madagascar – AATM; Moldova – SICRM; Morocco – SMPT; Nepal – FAAN; Netherlands – FNV KIEM; New Zealand
– Equity NZ; Norway – NSF; Norway – NoDa; Panama – UNAP; Paraguay – CEPATE; Poland – ZZAP; Portugal – STE; Romania –
FAIR-MediaSind; Russia RCWU; Slovenia – GLOSA; South Africa – SAGA; Sweden – TF; Switzerland – SSRS; Turkey – AUT;
Turkey – CASOD; Ukraine – CWUU; Uruguay – SUA
Australia – MEAA
Yes, there are agreements in place that set out what affording reasonable opportunities for Australians and due diligence procedures for
applications that represent exceptional circumstances.
Brazil – SATED/MG
Los espectáculos extranjeros también hacen una oxigenación y traen buenos ejemplos de práctica laboral
Cameroon – SCAS
Yes
Canada – CAEA
No, we will be happy to report on the changes to the regulations once they have been in place for a year or so.
France – SFA
En dehors de la volonté du SFA de veiller aux bonnes conditions d’accueil, les autorités ne nous aident plus comme elles pouvaient le faire
il y a quelques années dans l’audiovisuel.
Peru – SAIP
Hay muchos ejemplos, cuando nos visita el teatro negro de Praga, para poder hacer sus presentaciones antes tiene que tramitar sus visas,
uno de los requisitos para tramitar la visa es tramitar antes el pase intersindical que lo otorga nuestro sindicato.
Yes, see above.
UK – Equity
Yes, the Exchange Agreements and the Codes of Practice.
USA – AEA
Yes, in general, we have good compliance in this area, but ocacasionally we do find employers trying to avoid consulting with us. Ideally, in
those cases, the immigration service will refer the case back to us.
56. Can you extend some level of protection to foreign performers touring or temporarily working in your country?
Organisation
Argentina – AAA
Australia – MEAA
Yes
X
X
Azerbaijan - CWU
Belarus – BGKA
Brazil – SATED/ES
Brazil – SATED/MG
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France –SFA
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
X
Good practices
Asesoramiento Legal.
All foreign performers entering Australia to tour or work temporarily can only do
so where their rates of pay and conditions of employment are no less than
Australian standards.
It depends if they work for an Austrian production, then yes- it depends also if it is
a production of a Country in the European Union, we can help with advise but the
Performers must always be members of our Union for any help or advice
X
X
In theory, yes, but we have never been approached by any foreign performer with
a request for assistance or protection.
X
X
X
X
Información sobre sus necesidades
Como descrito arriba
X
X
X
X
X
X
X
X
X
If the foreign performer is engaged under a CAEA contract, then they would have
all the same protections as a member while they are working in Canada. We do
not have any formal processes in place to assist with a foreign production in
Canada that runs into trouble.
En seguridad social. Problemas de documentación. Problemas de pagos.
We have not been asked about that by anybody
A work permit is only granted to a circus artist if the conditions meet union
standards.
They will probably be under Danish law
Son amprados bajo nuestra ley
X
Have already helped, if possible
X
X
X
X
If a member-union of FIA calls us about a problem that one of their members has
during touring Germany, we try to help.
X
X
X
We have a reciprocal representation agreement with Equity UK
X
X
Kyrgyzstan – CWU
X
Latvia – LKDAF
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NSF
Norway – NoDa
X
X
X
X
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
X
No
Provided they are members of the respective trade union.
X
X
X
X
We will assist all actors working in Norway.
If they are a member of a sister union in the home country, we survey them like
our own. This is according to the FIA dance passport. If dancers are from outside
EU, we indent to help them anyway.
Un seguro transitorio
X
X
Poland – ZZAP
Portugal – STE
Russia – RCWU
X
X
Slovenia – GLOSA
X
No
Muchos grupos que se han presentado en nuestro país han sido estafados por
empresarios peruanos no pagando sus impuestos, al no pagar sus impuestos el
artista esta imposibilitado de abandonar nuestro territorio hasta que no cancele,
varias veces hemos tenido que intervenir nosotros.
X
X
In theory, yes, but we have not as yet been approached by any foreign performer
with a request for assistance or protection.
The conditions are the same for all.
183 South Africa – SAGA
Sweden – TF
X
X
X
Turkey – AUT
Turkey – CASOD
Ukraine – CWUU
X
X
X
UK – Equity
X
USA – AEA
X
Uruguay – SUA
X
Only if they are registered with the tax revenue department in SA
Yes, as was mentioned by British Equity in Athens, our lawyer was helpful in a
case concerning an equity member.
X
Only in form of information and referrals
In theory, yes, but we have not as yet been approached by any foreign performer
with a request for assistance or protection.
E.g. the Dance Passport for temporary assignments. We have a reciprocal
agreement with Irish Equity to look after each other’s members for up to one year
on membership of the sister union. In all other cases the foreign performer is
invited to join Equity UK to obtain assistance.
If the performers are working under our contracts, we treat them the same as our
members. If they are not, we will help if possible.
184 TOURING AND INTERNATIONAL PRODUCTIONS – International Productions
57. Has there been an increase in international co-productions over the past five years?
Did not answer the question: Australia – MEAA; Austria – GdG-KMSfB; Canada – ACTRA; Denmark – DAF; Switzerland – SBKV;
Turkey – AUT
Organisation
Yes
Argentina – AAA
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
Chile – SIDARTE
Colombia – CICA
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NSF
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Russia – RCWU
Slovenia – GLOSA
Sweden – TF
Turkey – CASOD
Ukraine – CWUU
UK – Equity
USA – AEA
Uruguay – SUA
No
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
Data unavailable
X
Data unavailable
X
X
X
X
X
Data unavailable
X
185 Date unavailable
X
X
TOURING AND INTERNATIONAL PRODUCTIONS - International Productions
58. In the case of a co-production with your country, which law/agreement tends to apply more often to the production?
Did not answer the question: Argentina – AAA; Belgium – ACOD Cultuur; Brazil – SATED/ES; Brazil – SATED/RJ; Canada –
ACTRA; Chile – SIDARTE; Denmark – DAF; Denmark – DSF; Estonia – ENLIIT; Finland – FNL; Hungary – SDS; Kyrgyzstan – CWU;
Madagascar – AATM; Moldova – SICRM; Netherlands – FNV KIEM; Norway – NoDa; Panama – UNAP; Switzerland – SSRS; Turkey –
AUT
Australia – MEAA
Yes, Australia has a film coproduction program administered by the government under which Film Coproduction Treaties and Memoranda of
Understanding have been negotiated.
No information
Azerbaijan – CWU
The Azerbaijani law / agreements
Belarus – BSAG
Within the framework of the Belorussian law and by agreement of contracting parties
Brazil – SATED/MG
La ley 6533/78
Cameroon – SCAS
La loi nationale en principe.
Canada – CAEA
We have very few real international co-productions in Canada but our contract usually would apply.
Colombia – CICA
Ninguna. Es simple acuerdo entre las partes.
We have no such knowledge.
Ecuador – FENARPE
Ley de defensa de artista profesional
France – SFA
En général il s’agit d’un contrat français mais nous avons eu des problèmes avec des tentatives de faire des doubles contrats dès que le
spectacle quitte la France.
Georgia – ICSTEU
The Georgian law
Germany – GDBA
We cannot answer this question.
Greece – SEI
Usually, people involved in international projects are not members of the Union. They just don’t bother.
Local law
Japan – JAU
Place of performance
Kazakhstan – CWU
There is a parity.
Latvia – LKDAF
No experience
Morocco – SMPT
La législation marocaine
Nepal – FAAN
Company law, Income tax law
186 NZ law is usually cheapest for the employer.
Norway – NSF
Our collective agreement should apply.
Paraguay – CEPATE
No hay coproducciones
Peru – SAIP
Ley 28131 ley del artista interprete y ejecutante.
Poland – ZZAP
Individual agreements
Portugal – STE
No idea.
Romanian Law
Russia – RCWU
This would depend on the jurisdiction in which the performance takes place.
Slovenia – GLOSA
National legislation in Slovenia
SA Law
Sweden – TF
Swedish law
That depends on where the production has its legal base.
Turkey – CASOD
For actors from Turkey, mostly the Turkish law/agreement apply.
Ukraine – CWUU
This would depend on the jurisdiction in which the performance takes place.
UK – Equity
UK law.
USA – AEA
Generally, the agreement of the hosting country applies. If the entire engagement is in one country, they would stay on that agreement, but
we would ensure appropriate minimum terms and conditions for our members.
Uruguay – SUA
No se aplica la ley
59. Does your union negotiate with international companies?
Did not answer the question: Denmark – DAF
Organisation
Yes
Argentina – AAA
Australia – MEAA
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NSF
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Russia – RCWU
Slovenia – GLOSA
Sweden – TF
Turkey – AUT
Turkey – CASOD
Ukraine – CWUU
UK – Equity
USA – AEA
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X,
On a case by
case basis
Uruguay – SUA
No
X
X
60. In the case of a co-production, do you co-operate with unions in the other countries involved?
Did not answer the question: Argentina – AAA; Brazil – SATED/RJ; Denmark – DAF; Turkey – AUT
Organisation
Australia – MEAA
Azerbaijan - CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
Cameroon – SCAS
Canada – CAEA
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Yes
Slovenia – GLOSA
Sweden – TF
Turkey – CASOD
Ukraine – CWUU
UK – Equity
USA – AEA
Specify
Applications for coproductions must comply with the film coproduction program
guidelines, which are administered by the government.
Sometimes
X
X
X
X
X
En todos los casos donde sea necesaria una participación o orientación, o
protección para el artista
X
X
Yes and we have worked with British Equity, AEA, Australian Equity for Triumph
Entertainment and we worked with AEA regarding Troika Entertainment.
Through FIA we help coordinate international co-production in Film and TV
X
X
X
Siempre y cuando que tengamos conocimiento de su llegada.
X
X
X
Logística
X
X
X
X
X
X
X
Oui dans le cadre de la FIA
Very rarely
We weren´t confronted with that problem up to now.
Same as 51.
We have a reciprocal agreement with Equity UK.
X
X
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NSF
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Russia – RCWU
No
X
X
We have never been approached by any sister Union with a request for joint
action in respect of an international co-production.
Again, in theory, yes, we can co-operate, but we have never been approached by
any sister Union with a request for joint action in respect of an international coproduction.
No experience till today
X
X
X
Mais pas beaucoup de cas
X
X
X
X
If necessary we will.
X
X
X
X
X
X
X
X
X
X
X
We would certainly seek co-Operation.
X
X
X
X
X
We haven’t encountered a case which led to this yet.
Particularly in relation to the Exchange Agreements.
We have done several co-productions with UK companies, and have always
worked directly with Equity UK to ensure the terms are satisfactory to both
unions.
189 Uruguay – SUA
X
190 TOURING AND INTERNATIONAL PRODUCTIONS - International Productions
Did not answer the question / answered “no”: Australia – MEAA; Austria – GdG-KMSfB; Argentina – AAA; Azerbaijan - CWU;
Belarus – GBAK; Belgium – ACOD Cultuur; Brazil – SATED/ES; Brazil – SATED/MG; Brazil – SATED/RJ; Cameroon – SCAS:
Canada – CAEA; Chile – SIDARTE; Colombia – CICA; Czech Republic – HA; Denmark – DAF; Denmark – DSF; Ecuador –
FENARPE; Estonia – ENLIIT; Finland – FNL; Georgia – ICSTEU; Germany – GDBA; Greece – SEI; Hungary – SDS; Japan – JAU;
Kazakhstan – CSMW; Kyrgyzstan – CWU; Latvia – LKDAF; Madagascar- AATM; Moldova – SICRM; Morocco – SMPT; Nepal –
FAAN; Netherlands – FNV KIEM; New Zealand – Equity NZ; Norway – NSF; Norway – NoDa; Peru – SAIP; Panama – UNAP;
Paraguay – CEPATE; Poland – ZZAP; Portugal – STE; Romania – FAIR-MediaSind; Russia – RCWU; Slovenia – GLOSA; South
Africa – SAGA; Sweden – TF; Switzerland – SBKV; Switzerland – SSRS; Turkey – AUT; Turkey – CASOD; Ukraine – CWUU;
Uruguay – SUA
Canada – ACTRA
Contracts that seek best terms and conditions when dealing with countries with differing or absent contracts for performers
France – SFA
Lorsqu’un syndicat nous préviens à l’avance nous partageons un maximum d’informations.
Yes, we have a reciprocal agreement with Equity UK and this works well on information and co-operation
UK – Equity
The Exchange Agreements
USA – AEA
Yes, most recently, the Tarrell project, which was a co-production that played abroad and in two US locations, with terms agreed with the
producers by both unions. There have been several others.
191 TOURING AND INTERNATIONAL PRODUCTIONS – Mobility
62. Do visas represent a frequent source of concern for your members?
Organisation
Argentina – AAA
Australia – MEAA
Yes
X
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
X
X
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
X
X
X
X
X
X
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NSF
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Russia – RCWU
Slovenia – GLOSA
Sweden – TF
Turkey – AUT
Turkey – CASOD
Concerns
In some sectors some producers seek to increasingly use overseas performers. In
other sectors like commercial live theatre the number of producers seeking to use
overseas performers has declined significantly.
X
X
X
X
Las visas pueden ser concedidas o no. Y para el artista quedarse en la incerteza si
va o no poder trabajar es un gran problema.
Sans visa on ne peut pas travailler à l’étranger.
Our members and engagers report increasing difficulty working in the United States.
El temor de que no les otorguen la visa. El sindicato certifica para que puedan
obtenerla.
X
X
X
X
Mostly in the audiovisual sector
Es uno de los factores que limitan mucho al artista ecuatoriano.
X
X
X
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
No
X
X
X
X
Ce sont plus les visas d’entrée en France qui posent problèmes. Les artistes non
communautaires ont beaucoup de mal à venir se produire en France et le SFA
intervient directement auprès du Ministère de la culture et du Ministère des affaires
étrangères pour que la situation s’améliore.
The most frequent concern of an actor trying to work abroad is how he/she can
manage so as to never come back to Greece again.
X
X
Mostly for travelling to work in the USA and Canada
X
X
X
X
X
No comment
Difficile d’obtenir un visa de sortie pour des membres qui vont dans certains pays et
dont le passeport mentionne comme profession le domaine artistique (chanteur,
danseur, acteur, metteur en scène etc…)
X
X
X
Difficulté d’avoir des visa pour nous artistes pour les pays européens
X
X
X
X
I am not sure, but are personally not aware of any
Employment, not fulfilling contract obligations, non-payment
X
X
X
X
X
Salir de nuestro país a trabajar a otro país es muy difícil, tiene que haber un contrato
de por medio de lo contrario no te dan la visa, un poco que se flexibilizado en el caso
de la comunidad andina de naciones, entre estas naciones para el ingreso tan solo
se necesita el documento de identidad.
No data
Not that we know of.
X
X
X
X
X
X
X
X
X
UK – Equity
X
USA – AEA
Uruguay – SUA
X
X
Some members do not think that foreign performers should be engaged in the UK
when they are and members want support from Equity to obtain Visas in overseas
jurisdictions. This can be difficult, as the union is not authorised to give formal
immigration advice.
X
Si, los costos de visas son importantes en relación a la dificultad económica de
producción de los espectáculos.
193 TOURING AND INTERNATIONAL PRODUCTIONS – Mobility
63. Does international mobility or touring create issues with respect to:
Did not answer the question: Argentina – AAA; Austria – GdG-KMSfB; Azerbaijan – CWU; Belgium – ACOD Cultuur; Brazil –
SATED/RJ; Canada – ACTRA; Czech Republic – HA; Estonia – ENLIIT; Finland – FNL; France – SFA; Georgia – ICSTEU; Germany –
GDBA; Greece – SEI; Hungary – SDS; Japan – JAU; Kazakhstan – CWU; Kyrgyzstan – CWU; Latvia – LKDAF; Madagascar – AATM;
Moldova – SICRM; Netherlands – FNV KIEM; New Zealand – Equity NZ; Norway – NSF; Norway – NoDa; Paraguay – CEPATE;
Poland – ZZAP; Portugal – STE; Russia – RCWU; Slovenia – GLOSA; South Africa – SAGA; Sweden – TF; Switzerland – SBKV;
Switzerland – SSRS; Turkey – AUT; Ukraine – CWUU
Organisation
Social security
entitlements
Pensions
Taxation
Access to health
care insurance
Australia – MEAA
Belarus – BSAG
X
Other
No information is available to
BSAG on these issues
Brazil – SATED/ES
Brazil – SATED/MG
Cameroon – SCAS
Canada – CAEA
X
X
X
X
X
X
X
X
Chile – SIDARTE
Colombia – CICA
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
X
X
X
X
X
X
Morocco – SMPT
Nepal – FAAN
Panama – UNAP
Peru – SAIP
X
X
X
X
Romania – FAIRMediaSind
Turkey – CASOD
X
UK – Equity
USA - AEA
X
Uruguay – SUA
X
Workers’
compensation/
accident insurance
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
If our members are under
another union contract when they
work outside of Canada, their
access to all of these items is
limited or non-existent and they
are not otherwise contributing to
or able to access their Canadian
plans.
X
No crean problema, mas por el
contrario un beneficio.
X
X
X
X
X
X
Trabajo en si, desplazan a un
artista nacional que podría ganar
lo mismo o quizá mas que el
extrañara y con mejores
pergaminos.
X
X
X
X
Not being able to be mobile as
citizens of Turkey is the problem.
It is very hard to get visas. And
as a non-EU member at the
moment, Turkish actors face the
“citizenship”, “work/residency
permit” and “that country’s union
membership” wall in Europe,
USA, Canada, Australia
especially.
X
X
X
X
X
X
X
X
When our members work outside
of the country under an
agreement not negotiated by us,
they are subject to the
rules/laws/conditions of the
hosting country. When we
negotiate an agreement, we
include appropriate benefits
coverage. Taxation is often an
issue, as the tax treaties vary
widely from country to country,
and our members are often
required to pay taxes in both
countries.
194 X
TOURING AND INTERNATIONAL PRODUCTIONS - Mobility
Did not answer the question / answered “no”: Argentina – AAA; Australia – MEAA; Austria – GdG-KMSfB; Azerbaijan – CWU;
Belarus – BSAG; Belgium – ACOD Cultuur; Brazil – SATED/MG; Brazil – SATED/RJ; Cameroon – SCAS; Canada – ACTRA; Chile –
SIDARTE; Colombia – CICA; Czech Republic – HA; Denmark – DAF; Denmark – DSF; Estonia – ENLIIT; Finland – FNL; France –
SFA; Georgia – ICSTEU; Germany – GDBA; Greece – SEI; Hungary – SDS; Ireland – SIPTU / IE; Japan – JAU; Kazakhstan – CWU;
Kyrgyzstan – CWU; Latvia – LKDAF; Madagascar – AATM; Moldova – SICRM; Morocco – SMPT; Nepal – FAAN; Netherlands – FNV
KIEM; New Zealand – Equity NZ; Norway – NSF; Norway – NoDa; Panama – UNAP; Paraguay – CEPATE; Poland – ZZAP; Portugal –
STE; Romania – FAIR-MediaSind; Russia – RCWU; South Africa – SAGA; Switzerland – SBKV; Switzerland - SSRS; Turkey – AUT;
Turkey – CASOD; Ukraine – CWUU; Uruguay – SUA
Brazil – SATED/ES
Si, muchos artistas viajan como turistas y no como profesionales
Canada – CAEA
We have some exchange of benefits with AEA but these are very limited by the legal set up in the States.
Ecuador – FENARPE
Si, los pocos talentos ecuatorianos que han salido del país han tenido experiencias muy satisfactorias.
Peru – SAIP
Si, una obra de teatro donde participa un extranjero, ese puesto tranquilamente lo puede ocupar un nacional, tenemos muy buenos actores.
Slovenia – GLOSA
Yes
Sweden – TF
Yes
UK – Equity
Yes, Equity employers two members of staff to give advice on tax and social security issues and this includes helping to understand their
liabilities and what they need to arrange when working abroad. In addition Equity works with US Equity on these questions as part of the
Exchange Agreement. An Ireland/UK action group has been established with Irish Equity to deal with issues affecting both countries.
USA – AEA
Yes, our contracts require the international employers arrange for appropriate visas for any work.
195 HEALTH AND SAFETY IN LIVE PERFORMANCE
65. In your country, what are the most common health and safety concerns in the live performance sector? Are there new
challenges emerging?
Did not answer the question: Argentina – AAA; Azerbaijan – CWU; Denmark – DAF; Georgia – ICSTEU; Finland – FNL; Moldova –
SICRM; Netherlands – FNV KIEM; Poland – ZZAP; Slovenia – GLOSA
Australia – MEAA
Safety standards and mental health. Substance abuse is an emerging challenge in parts of our industry.
Schräge Bühnen and more and more burn out; we have Sicherheitsvertrauensleute, the staff councils and practicable laws for health a
safety concerns
Belarus – BSAG
No new challenges have been observed.
Pas de préoccupation particulière
Brazil – SATED/ES
Les preocupa la falta de seguro de salud
Brazil – SATED/MG
La falta de contribuciones regulares por parte de los artistas
Brazil – SATED/RJ
La preocupación es cuanto la salud vocal, la salubridad y el trabajo de los chicos.
Cameroon – SCAS
C’est surtout l’assurance du travail.
Canada – CAEA
Theatres where there is insufficient upkeep. Non-standard, outdoor and temporary performance spaces create challenges. The increasing
use of computer generated or electronically managed sets/props etc. are cause for concern, as a person cannot always override an error to
prevent an accident.
Canada – ACTRA
Circus and other acrobatic style productions
Chile – SIDARTE
El país está en proceso de transformación ya que de manera predominante el sistema de salud y pensiones es privado. Esa es nuestra
mayor preocupación.
Colombia – CICA
La falta de recursos económicos para poder pagarla.
Only those required by the law, nothing new is emerging
Denmark – DSF
That they get injured
Ecuador – FENARPE
Contagio
Estonia – ENLIIT
We have lot of problems with social guarantees.
France – SFA
Les danseurs et les circassiens sont particulièrement exposés du fait du non respect des conditions de travail étables dans les conventions
collectives (Répétitions trop longues, nombre de services de répétition trop important, temps de pause non respectés, etc.) Ces mauvaises
conditions provoquent des légions parfois définitives. Dans les comédies musicales et les cabarets les artistes interprètes sont
particulièrement touchés.
Germany – GDBA
The most common health and safety issue is concerning the dangers that result from over-worked performers. The general legal obligations
in the health and safety field are very strong, but because the fixed ensembles are getting reduced, the remaining employees have more
work and stress. This stress rises the risk for work-accidents, voice-problems of singers, injuries of dancers and burn-out-symptoms.
Self-employed performers are not automatically insured against work-accidents as employees are. The rising number of self-employed
196 performers increases this problem.
Fees for the health insurance are sometimes a problem for self-employed performers with only a small income. Many self-employed
performers cannot get social insurance with the Künstlersozialkasse (The Artists’ Social Welfare Fund for self-employed artists and
journalists) because they work actually as performers in false self-employment and don´t fulfil the legal obligations for that insurance. If a
self-employed artists is insured with the Künstlersozialkasse this insurances pays half of the health- and pension-insurance-fees.
Safety concerns rise sometimes in small fringe-productions that don´t comply with the legal obligations.
Greece – SEI
Health and safety concerns in public spaces usually have to do with the audience (emergency exits, fire regulations, hygiene). As for the
actors, there is no additional concern about their safety.
Hungary – SDS
Everyone has a basic health insurance.
No
Japan – JAU
Labour accidents; there is no provision for self-employed workers.
Kazakhstan – CWU
Insufficient physical infrastructure and facilities in the live performance sector which has virtually not been modernized and can potentially
affect performers’ safety and health.
Kyrgyzstan – CWU
The issue of a particular concern for the Union is the ageing and outdated physical infrastructure and facilities in the live performance sector,
which has not been modernized or renovated for a long time and can potentially affect performers’ safety and health.
Latvia – LKDAF
No comment
Madagascar – AATM
Accident de voitures lors des tournées
Morocco – SMPT
C’est la non couverte médicale totale
Nepal – FAAN
Medical treatment, Safety during performance
The most common would be overwork, long hours without adequate breaks. Conventional safety concerns are covered by OSH legislation
Norway – NSF
Health problems related to alcohol are a concern, although this problem is decreasing.
Norway – NoDa
Low pay, uncertainty about the text job, poor existents, its hard to buy an own apartment, more females dancers than average population
give birth.
Paraguay – CEPATE
Que no hay asistencia social para los artistas
Panama – UNAP
La seguridad de los artistas en danza , teatro acróbatas
Peru – SAIP
Accidentes de trabajo, actualmente el estado peruano ha puesto la mira en esta problemática, esta inspeccionando las empresas por este
motivo.
Portugal – STE
Lack of Social Security covering accidents and illness. Damaged stages. Dust and smoke.
Occupational diseases
Russia – RCWU
Setting up phoniatric consulting rooms in opera houses. Trade union monitoring of the stage floors in ballet theatres and dance studios.
We do not have an active safety body that insists on venues being compliant with safety standards.
197 Sweden – TF
More and more respect for Health and safety from the employers and employees
Opera singers safety and health concerns because of incidents leading to -> tinnitus, dancers
Durée du travail et accidents pour technicien.ne.s
Accidents/usure pour danseur.e.s
Turkey – AUT
No
Turkey – CASOD
Common problem is the lack of safety and health regulations.
Ukraine – CWUU
The Union has been particularly concerned about the ageing and outdated physical infrastructure and facilities in the live performance
sector, which has not been modernized or renovated for a long time and can potentially affect performers’ safety and health. When the
counterterrorist operation in the Donetsk and Luhansk Regions is over major outlays from the public purse would obviously be necessary to
rebuild and renovate theatre buildings damaged during the hostilities there.
UK – Equity
Beyond usual health and safety matter, such as temperatures and conditions of dressing rooms, which are dealt with by Equity organisers
who are nominated as Health and Safety Representatives under UK Health and Safety legislation, issues relating to mental health conditions
are becoming a major area of concern for the union and the industry.
USA – AEA
Smoke, Haze, Pyrotechnics, Raked Stages, Elevators and Moving Platforms, Repetitive Stress Injuries and Aerial Work. Yes, we have
challenges with the Workers’ Compensation Guidelines. Our members can’t go back to work unless they are 100%. However, their
treatment is often cut off prior to being fully recovered.
Uruguay – SUA
El acceso universal al sistema de salud y el derecho y al seguro de trabajo ya que en nuestro país los artistas no tenemos derecho al
seguro por la ley.
66. Are there general legal obligations in relation to work-place policies on health and safety and accidents/injury insurance that
apply to the sector?
Did not answer the question: Suisse – SSRS
Organisation
Argentina – AAA
Australia – MEAA
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
Yes
X
X
X
X
X
X
Specify
El sistema solidario de salud con supervisión de la Superintendencia de salud
de la Nación cubre a los afiliados siempre y cuando los mismos tengan como
cualquier trabajador los aportes patronales a ese sistema.
Work Health and Safety and Workers Compensation legislation across states –
becoming uniform. Compensation claims for injury sustained to/from work no
longer covered under state schemes, though now covered by insurance
included in MEAA membership.
The Austrian social security system
The applicable legislation of Belarus
Les lois sécurité sont aussi applicables dans le spectacle vivant
X
X
X
X
X
Canada – ACTRA
Chile – SIDARTE
X
X
Colombia – CICA
X
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
X
X
X
Each province has health and safety regulations which apply to any workplace,
not just a theatre. Several provinces also have specific legislation or guidelines
specifically for our sector.
Provincial legislation applies
Cuando se cumplen los contratos de trabajo se hacen las retenciones para la
seguridad social
La ley determina las bases económicas para poder acceder a los servicios de
salud, pensión y riesgos laborales, que no siempre se pueden cumplir. No hay
un estudio sobre los riesgos del sector así que son generalizados.
We hope so
X
X
X
X
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
X
X
Hungary – SDS
X
X
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
X
X
X
Norway – NSF
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
X
X
X
Poland – ZZAP
Portugal – STE
X
X
X
No
But I am not sure
No hay
Elles existent dans le Code du Travail, les conventions collectives et tous les
lieux de spectacles de plus de 49 places sont soumis à une commission de
sécurité.
X
*
The only obligations have to do with hygiene accommodations and conforming
to fire regulations. Accidents insurance is not a requirement, although there are
some producers that usually insure their employees.
The Safety Health and Welfare at Work Act 2005 applies and requires risk
assessments and consultation
In theory, yes. But there is no provision for self-employed workers.
The Labour Code and the Occupational Safety Law.
The Labour Code and the Occupational Safety Law. X
X
X
Law on Occupational Health and Safety
X
X
X
There is law which has laid down minimum safety standards
There is the general law on health and safety (Arbo). It is a legal framework. A
lot of responsibility as the further regulations are concerned is placed in the
hands of social partners within the sector.
There are laws which cover safety and health in all workplaces
HMS. The law of labour environment.
In the public theatres there are good conditions for health and safety.
X
X
X
Obligaciones jurídicas generales existe, lo que hay que hacer es aplicarlas
también en el sector que no se hace.
It applies to all and any company
199 Russia – RCWU
X
Slovenia – GLOSA
Sweden – TF
X
X
X
X
Turkey AUT
Turkey – CASOD
Ukraine – CWUU
X
UK – Equity
USA – AEA
X
X
Uruguay – SUA
The Labour Code and occupational safety and health legislation. Moreover,
RCWU and the Ministry of Culture have jointly approved and issued
occupational safety and health regulations for the entertainment industry.
Health and Safety at Work Act.
It is up to the producers to cover the cast for work related injuries
Every Person must have a working-accident insurance paid by the employer
and if he works more than 3 months or 8 hours a week, he must have a nonworking accident insurance paid by both employer and employee.
X
X
Only under the State – City Theatre Productions.
The Labour Code and occupational safety and health legislation. Moreover,
there are sectoral occupational safety and health regulations for the
entertainment industry; some are inherited from the Soviet period, some have
been developed anew.
Health and Safety legislation applies, as does the law on personal injury.
All of our employers must carry Workers’ Compensation Insurance. This
insurance is specifically to cover workplace injuries. Also both the US and
State Departments of Labor as well as the Occupational Safety and Health
Administration govern workplace safety.
X
* General obligations for Occupational safety: Occupational safety is the safety of employees at work, meaning the control and minimization
of risks to their safety and health. It is therefore part of the labour protection within the meaning of the Employment Protection Act, which
calls for measures to prevent accidents at work and work-related health hazards, including measures of humane design of the work.
The management of safety and health of employees is one of the indispensable support processes of a company, primarily for humane
reasons, but also from an economic point of view: accidents and occupational diseases cost both the worker and the company a lot of
money. Empirical findings indicate that the shortcomings in health and safety are frequently observed simultaneously with defects in the
product or service quality, so suggest problems of business organization and management (e.g.; Schliephacke 2008). The one who as an
entrepreneur or as the entrepreneur Supervisor (operational supervisor, Master, superintendent until up with the management and
supervisory board) commissioned work or permits that do not comply with the regulations and standards of the respective industry, can be
personally prosecuted under criminal and civil law. The legal basis for workplace safety are the Occupational Safety and Health Act
(ArbSchG), the Social Code SGB VII “statutory accident insurance” and the law on occupational physicians, safety engineers and other
professionals for Occupational Safety (AsiG), which regulates the order and task of the professionals.
In Germany in a dual system of state labour inspectorates or offices of labour protection and the statutory accident insurance (professional
associations and accident insurance in the German Social Accident Insurance DGUV) monitor work safety. The latter adopt accident
prevention provisions, which constitute binding law. Not only in a business, but in any economic context it is essential to strive to pay
attention to the needs of job security: A Hobbyist can be held liable if he performs work without observance of safety precautions, if only that
his continued pay in disease shall be suspended for violating safety rules with the plea that he had “acted with gross negligence.”
In recent years, the labour protection developed away from pure technical prevention of accidents to a comprehensive prevention. This also
means that the psychological factors of work are becoming more and more important and complement the technical aspects of safety at
work. Not least for this reason form instruction is an essential element of health and safety. So calls § 12 Section 1 of the Employment
Protection Act, that the insured be trained sufficient and appropriate during working hours. Manner and the extent of instruction must be in
reasonable proportion to the existing hazardous situation and the qualifications of the insured. Occupational safety combines with the
requirements of ergonomics, the humane job design and health-protection to a system-oriented approach of OSH.
The current development goes even beyond towards the already in some standards provided linked labour protection, quality and
environmental management systems to an integrated management system.
Health protection: The Occupational health is dealing with the long-term effects of work on the health of employees. The aim is to prevent
work-related health disorders and diseases. Health and safety are among the operators’ duties under the Occupational Safety Act and
should be coordinated within the framework of an integrated occupational health and safety management. The closest possible cooperation
between the occupational health and safety practitioner and the occupational physician is therefore useful and advisable. In companies with
a works council representation this council has to be involved.
Occupational health and safety practitioner: The occupational health and safety practitioner is a specially trained person who supports
together with a company doctor (occupational health) companies or government agencies of a certain size as an employee in questions that
result from the implementing of the EC Framework Directive 89/391/EEC. The central task of a Fasi (Fachkraft für Arbeitssicherheit) is to
advice and support the entrepreneur or employer in the field of work safety – more precisely “health and safety and the humane job design”.
Statutory accident insurance: The statutory accident insurance (GUV) belongs to the structured social security. It is a “class of insurance”.
The purpose is to prevent occupational accidents, occupational diseases and work-related health risks and restore the health and
performance of the insured by any suitable means after the occurrence of accidents at work or occupational diseases. To the duties of the
carrier of the UV belong next to the granting of benefits after the occurrence of the insured event, the advice and supervision of the member
200 companies in the field of occupational safety, accident prevention and health protection of workers (prevention); The carriers of the UV
partially cooperate with the authorities of the State Labour Inspectorate. The calculation of contributions after the accident risk of commercial
activities (risk classes) is used for prevention. In the statutory accident insurance (UV) is insured, who is compulsorily insured: employees,
Child attending a nursery or kindergarten, pupils, students, trainee, farmer, Caregiver, Helpers in accidents, Helpers in civil defence or civil
protection Blood donor or organ donor or who is voluntarily insured: Entrepreneurs (except e.g. hairdressers) Self-employed or a freelancers
assisting spouses. Due to the high risk of occupational diseases hairdressers are compulsorily insured (§ 50 BGW Statute). In addition,
there are also various special groups of insured persons such as certain volunteers. Compulsory insurance here does not mean that the
insured are obliged to pay a contribution (which the employer must), but rather that the accident insurance carrier is obligated to pay the
claim. The insured persons are generally insured not universal, but rather the benefits of the statutory accident insurance are subject to
additional requirements: An accident at work is not automatically any accident that occurs at work or on the way to and from the place of the
insured activity. There are a number of individual cases and peculiarities. Also, a disease that occurs in connection with the work is not
automatically an occupational disease. The legislature – and not the accident insurance institutions – are giving out a sorted list of certain
diseases that come as an occupational disease after damage (e.g. chemical substances). This list is compiled by a committee of experts
who also makes recommendations to the federal government, which disorders should be included in the list. Certain medical conditions can
then be compensated as an occupational disease. They are therefore not explicitly on the list yet, but meet certain other criteria. Fiduciary
duty of the employer: The duty of care of the employer designates the duty to ensure the well-being of employees. In Germany the duty of
care under § § 617-619 of the Civil Code provides as collateral duty from the employment relationship, which is supplemented from other
laws. The employer is then required to establish working conditions that protect each employee from hazards to life, limb and health. To this
end, there are already a number of legal protection requirements, including workplace regulations the Working Environment Act the
Occupational Safety Act The employer also has to take care of other legal interests of the worker (like honor, property, equal treatment of
language difficulties or problems of foreign workers) in the course of employment. The duty of care also extends to compliance with public
law provisions, especially for the proper payment of social security contributions.
67. Is health and safety in the sector also addressed through specific regulations, industry tools and/or collective bargaining?
Did not answer the question: Brazil – SATED/MG; Madagascar – AATM; Norway – NSF; Norway – NoDa
Organisation
Specific
regulations
Industry tools
Collective
bargaining
X
Argentina – AAA
Australia – MEAA
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
X
X
X
X
X
X
X
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
X
X
X
X
X
X
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
X
X
X
X
X
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
X
X
X
X
X
X
Morocco – SMPT
Nepal – FAAN
X
X
X
Some provinces also have bi-lateral industry health
and safety committees.
Leyes y decretos de la Republica
Only where actors are employed on a permanent
basis.
X
X
X
X
X
**
Usually the state is the one who presses to the
direction of keeping the rules, and not the artists. As
for the Union, it has many times expressed the wish
“to have more safety in performing practice”, but this
was never formulated in rules, because it was
considered to be a “hindrance to artistic expression”.
X
X
X
X
X
X
X
X
X
X
X
Collective agreements contain certain site-specific
provisions.
X
There is an ‘arbocatalogus’ which describes the
most urgent health and safety issues and regulations
and norms. There is a ‘PodiumRIE’, a risk inventory
and –assessment tool. A specific website:
http://www.arbopodium.nl/
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
No existe
Como decimos antes, todavía no esta regulado en el
sector.
Poland – ZZAP
Portugal – STE
X
X
X
X
Russia – RCWU
X
X
Por la ley laboral general o por los acuerdos
firmados colectivamente o sectorialmente.
X
X
X
X
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Moldova – SICRM
Los Convenios Colectivos de Trabajo hacen
mención especifica de las obligaciones patronales
con respecto al sistema solidario de salud.
X
X
X
X
X
X
X
X
Specify
Health and Safety are implemented by national laws,
as well as the obligation of injury insurance
X
202 The Ministry of Labour has approved and issued
general occupational safety standards applicable to
all the sectors of national economy. The RCWU and
Ministry of Culture have jointly approved and issued
occupational safety and health regulations for the
entertainment industry. Over and above these two
sets of standards, local regulations may be and are
adopted as part of collective agreements in
individual theatre companies.
Slovenia – GLOSA
Sweden – TF
X
X
X
X
X
X
X
X
Turkey – AUT
Turkey – CASOD
Ukraine – CWUU
X
X
X
X
UK – Equity
USA – AEA
X
X
X
X
X
X
Exposure to noise (loud music, shots etc.), resting
time
X
Uruguay - SUA
There are three levels of occupational safety and
health standards: the most general set applies to all
the sectors of national economy; a more specific one
applies to the entertainment industry: over and
above these two sets of standards, local regulations
may be and are adopted as part of collective
agreements in individual theatre or circus
companies.
We cannot list here all the regulations, but our
contracts are available on our website
Aun aplicando la ley vigente el artista tendrá acceso
al sistema de salud de manera eventual
dependiendo de sus aportaciones.
** Assembly Ordinance: As Assembly Ordinance (VStättV) is described by many German Länder the respective country-specific ordinance
which relates to the construction and operation of so-called places of assembly. The German Conference of Ministers of Construction
(ARGEBAU) created a sample-Assembly Ordinance. It is intended to serve as the basis of a nationwide standardization of these state
regulations, but is not legally binding for the citizens nor the state governments yet. The Assembly Ordinance has a long tradition in
Germany and reflects historically relevant phenomena of the times. In the more than 100-year history, the various elaborations carry the face
of each era. While at the beginning the theatre was core content of the regulation it was necessary to make customized security provisions
when cinema came into vogue. Today, the regulation is influenced by changing conditions such as popular major events (e.g. festivals,
concerts at the stadium) or professional use of laser shows and stage equipment. Further evidence of the changing requirements are the
reduction to “performance area” and “stage”, the inclusion of barriers in front of scene surfaces (e.g. at open-air events) or the adaption to
the newly created training branches.
Normalvertrag Bühne (NV Bühne – collective agreement): Our collective agreement says in § 7 Abs. (4) The member must not suffer under
undue burden in use. § 41 rules the compulsory membership with the German Theatrical Pension Fund in the Bavarian Chamber for Social
Benefits and Pensions (BVK). This fund is a supplementary benefit for the pension of the performers. It contains regulations for an
occupational disability pension and an invalidity pension: Occupational disability pension. An insured person will receive a occupational
disability pension, regardless of his/her age, if the ability to earn a living in his or her present profession is reduced by more than fifty per
cent on account of sickness or incapacity for an unforeseeable period of time and provided that the qualifying period of 60 paid-up months
has been completed when the event giving rise to the pension claim occurred. The present profession is that in which the insured person
was last insured, on either a compulsory or a voluntary basis. The qualifying period is not applicable if the occupational disability occurs as a
result of an occupational accident in the context of employment by a Member. An accident that occurs when travelling to or from work is, as
a rule, deemed to be an occupational accident. Provided that the qualifying period has been completed, the pension benefit is also paid if the
insured person is drawing a pension under the statutory pension insurance system on account of a partial reduction of earning capacity in
the case of occupational disability (this corresponds to the transitional provision in § 240 of the Sixth Book of the Social Security Code for
insured persons born before January 2, 1961).
Since 2012 the disability has to occur prior to the relevant age of retirement for a flexible old-age pension (c.f. no. 1.2). The occupational
disability pension is paid for a limited period of time and ends as soon as the insured person takes up an acceptable occupation but no later
than upon expiry of a period of three years. If the prerequisites are still met when this time limit expires, the occupational disability pension
continues to be paid for a further three years. There is no time limit on payment of an occupational disability pension if the insured person
has already reached the age of 58 years at the time occupational disability occurred, or if he/she was already receiving an occupational
disability pension upon reaching this age limit. The entitlement, whether limited or unlimited in duration, ends as soon as the insured person
takes up another acceptable occupation. Such occupations include any one by which the insured person is still able to earn a living and
which is appropriate to his or her abilities and skills and which the person can reasonably be expected to do given the length and extent of
his or her training, previous occupation and the particular demands of said previous occupation. An occupation for which the insured person
has been successfully trained or re-trained through measures to maintain, improve or recover the ability to work is always considered
reasonable. The insured is only entitled to an occupational disability pension if at the time the disability occurred he/she was insured through
a Member or if he/she had continued insurance cover. In the case of non-contributory insurance, the insured person is only entitled if the
non-contributory insurance has been in place for less than one year. Invalidity pension An insured person will receive an invalidity pension if,
due to sickness or incapacity, he or she will be unable, for an unforeseeable period of time, to be gainfully employed for at least three hours
a day under the usual conditions of the general labour market. An insured person who can be gainfully employed for at least three but less
than six hours a day receives the pension for as long as he/she is unable to find a job on account of his/her sickness or disability. No
203 invalidity pension is received by an insured person who can be gainfully employed for at least six hours a day under the usual conditions of
the general labour market; no account should be taken here of the general situation on the labour market. Since 2012 the disability has to
occur prior to the relevant age of retirement for a flexible old-age pension (c.f. no. 1.2). The definitions correspond to the preconditions for
the pension paid under the statutory pension insurance system for a full reduction of earning capacity. An entitlement to a Theatrical Pension
Fund pension cannot therefore be derived from the fact that an insured person is drawing a pension from the statutory pension insurance
system for a partial reduction of earning capacity. In this case it has to be examined whether the preconditions for an occupational disability
pension are met (see § 1.3 above). Unlike the occupational dis ability pension, in the case of the invalidity pension the reduction of earning
capacity relates not only to the artistic profession for the practise of which the theatre professional is insured but also to all professions and
occupations, that is, an entitlement exists only if the insured person’s earning capacity is reduced by the required degree for all jobs offered
on the labour market. Unlike the occupational disability pension, the invalidity pension is always awarded for an un-limited period of time.
The required qualifying period is 60 paid-up months. If invalidity occurs due to an occupational accident in the context of employment by a
Member, the qualifying period is not applicable. Accidents on the way to or from work are, as a rule, also classified as occupational
accidents. The insured person is only entitled to an invalidity pension if he or she is insured through a Member or is covered by continued
insurance when the invalidity occurs. In the case of non-contributory insurance, the insured person is only entitled if non-contributory
insurance has been in place for less than one year.
204 LIVE PERFORMANCE IN THE DIGITAL AGE
68. Are live performances in your country frequently / increasingly:
Did not answer the question: Brazil – SATED/MG; Brazil – SATED/RJ; Finland – FNL; New Zealand – Equity NZ; Turkey – AUT
Organisation
Broadcast live
Australia – MEAA
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
Cameroon – SCAS
Canada – CAEA
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
France – SFA
Georgia – ICSTEU
Germany – GDBA
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NoDa
Panama – UNAP
Peru – SAIP
Poland – ZZAP
Portugal – STE
Russia – RCWU
Slovenia – GLOSA
Sweden – TF
Turkey – CASOD
Ukraine – CWUU
UK – Equity
USA – AEA
Uruguay – SUA
X
X
X
X
Simultaneously
retransmitted, e.g. by
cable/ satellite
X
X
Simulcast (on the
Internet)
Filmed and reproduced
(e.g. DVDs)
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
Are there specific challenges or concerns in relation to any of these uses? Do you have example(s) of good practice in this field?
Argentina – AAA
No
Australia – MEAA
Our agreements provide a framework that will require further updating as this trend grows. Negotiations take place with companies on a
case-by-case basis.
There are also regulations in collective Agreements or in the Austrian copyright law
Azerbaijan – CWU
We believe that performers’ rights are not adequately regulated by applicable national law
205 Belarus – BSAG
We haven’t been confronted with any specific challenges in this area.
Brazil – SATED/MG
Las preocupaciones vienen de los sindicatos que muchas veces no logran sus objetivos de protección a los trabajadores porque estos
mismos no se ponen adecuadamente en la relación de trabajo, aceptando trabajar sin contracto y fuera de la tabella de los sindicatos.
Canada – CAEA
We have had simulcasts into movie theatres, some streaming on the Internet and some productions filmed for television, theatrical or DVD
release. There is an increasing desire to film live performances but the cost continues to be prohibitive.
Canada – ACTRA
Increasingly
Some productions are filmed for TV broadcasting
Denmark – DAF
If a festival or music venue acquires such rights this may be in conflict with the performers’ recording agreement.
Denmark – DSF
We have recently had 6 productions recorded and sent on Danish Broadcast Television. The Royal Theatre will also do it Next year.
France – SFA
Oui et nous n’avons que des exemples de mauvaises pratiques
Greece – SEI
Before 2010, some TV channels filmed specific productions and showed them later in TV. For such cases, there were specific rules in the
existing collective agreements. (They were not always kept, but usually the actors did not complain to the Union, so the Union could not
intervene). Today, there is no example of a live performance broadcasting. There are only some TV series shown in the Internet after they
have been broadcasted, but this was never addressed by the Union, as no artist had a claim on it by any means.
Hungary – SDS
The use of live performances is neither frequent, nor increasing in Hungary. While music concerts are broadcast and recorded rather often,
theatre performances practically disappeared from the media. Despite repeated warnings from actors and directors about how “theatrically
undocumented” periods mean a serious and non-retrievable loss to all future generations, the situation in this field is continuously
deteriorating.
From the sixties up to the early eighties, broadcasting of live or recorded shows was regarded as immanent to the responsibilities of public
service television – a period members often reminiscence about. Today however, budgets are so tight that sometimes even recording for the
purposes archiving proves to be too costly.
There were very commendable, however short lived, attempts to webcast theatre shows over the Internet. During a conference last month
about the future of theatre there had been general agreement that in spite of the failure of these early attempts, webcasting could still be the
most viable alternative in this “barbaric” age.
Not much of this happening
Kazakhstan – CWU
We believe that performers’ rights are not adequately regulated by applicable national law
Kyrgyzstan – CWU
Live broadcasting is virtually never paid for. We are not aware of live performances being or having been used in any of the other abovementioned ways. We believe that performers’ rights are not adequately regulated by applicable national law.
Madagascar – AATM
Lutte contre le piratage des DVD
Not very often for theatre plays. It does happen for the Dutch Opera.
Norway – NSF
Transmission through television is decreasing. We may see an increasingly interest in transmissions through the Internet.
Norway – NoDa
This is an area of big concern, because of the new technical opportunities.
Panama – UNAP
206 Si porque a veces no se protegen los derechos de autores
Paraguay – CEPATE
No. Ni se transmiten ni se gravan
Peru – SAIP
Las grabaciones que se retransmiten, no son pagadas.
Russia – RCWU
We are not aware of live performances being frequently used in any of the above –mentioned ways.
We don’t have standards for these usages. We negotiate with each producer as the additional usage need arises.
In our collective agreement for Soloists, we are assigned to negotiate the terms
Turkey – CASOD
Although very rare
Ukraine – CWUU
We are not aware of live performances being frequently used in any of the other above-mentioned ways.
UK – Equity
We negotiate payments for these uses.
Uruguay – SUA
Uruguay debate la ley de servicios de comunicación audiovisual a través de la cual las artes en vivo pelean espacios de visibilidad.
USA – AEA
There is nothing specific; we are committed to these happening and adding value for both us and the industry, so we resolve any questions
promptly.
69. Do your collective agreements provide conditions for each of the above uses?
Organisation
Argentina – AAA
Australia – MEAA
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
Yes
No
We don’t have collective
agreements
X
X
X
See answer above and also staff councils negotiate
conditions in this field
X
No information is available to BSAG on this issue
X
X
X
Si las disposiciones de los acuerdos tiene que atender a la
legislación del país, y esta materia esta regulada por la Ley
Laboral específica de los artistas 6533/78 y por la ley de
derechos autorales y conexos.
X
X
X
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Denmark – DAF
X
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
X
We work with our colleagues at ACTRA to find an appropriate
model and rates depending on the project.
IPA
X
X
X
X
We have a collective agreement with our national
broadcaster regarding payment and conditions for recording
and broadcasting from e.g. festivals and music venues.
They can´t do it without negotiating with us
X
X
Finland – FNL
France – SFA
Only with the National Broadcasting company and
Association of Theatre Managers
X
X
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
X
Hungary – SDS
X
Non mais la loi reste applicable et tout enregistrement d’un
spectacle vivant doit faire l’objet d’un contrat avec l’artiste
prévoyant une rémunération spécifique pour l’enregistrement
et des rémunérations pour chaque type d’utilisation.
Malheureusement cette pratique est rarissime et les
employeurs se contentent d’obtenir l’autorisation de l’artiste
sans le rémunérer.
X
X
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Netherlands FNV KIEM
Norway – NSF
Norway – NoDa
Specify
***
When collective agreements existed, conditions were
provided for this. See the above answer.
Most of them contain regulations about what sort of
contributions in order to facilitate the above uses belong to
the employment obligations of artists. Usually, participation in
recordings for the purposes of archiving a show or offering to
audiences short previews thereof (e.g. on the website of the
theatre), are regarded as part of employment obligations in
return of which no extra payment or other remuneration are
due.
The recording of a show for TV transmission is regulated by
the internal agreement in the particular company
X
X
X
X
X
X
X
X
X
The Dutch National Opera does have these kinds of
productions sometimes. Although we do have negotiated fees
for different kinds of use, the Opera is not pleased with the
outcome. Every other use is taken as a pilot, for which they
try to arrange a new set of fees.
X
X
The theatre has to enter an agreement in each case.
X
208 Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Russia - RCWU
Slovenia – GLOSA
Sweden – TF
Turkey – AUT
Turkey – CASOD
Ukraine – CWUU
UK – Equity
USA – AEA
Uruguay – SUA
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
We have agreements with NT Live and Royal Opera House
Media agreements, for example.
Except our Broadway / touring contract, which does includes
such terms.
X
X
*** Soloists: (1) In addition to the fee (§ 58 paragraph 1) receives the solo member in addition to the participation at events for broadcasting
purposes (live or recorded) and the transfer of rights required for the transmission and rendering an appropriate special bonus. The special
fee may be a flat rate by sub-arrangement in monthly instalments; the sub-arrangement can be terminated within a period of three months to
the end of a season.
(2) Repetition of remuneration, even in time-offset distribution via cable and / or satellite, as well as compensation for the dissemination of
the program outside of the transmission area contracted and participations on the proceeds from sales / leases of the programme to foreign
broadcasting companies have to be paid in a reasonable height.
(3) Not to be paid is the participation in reportage broadcasts of radio and television. This applies regardless of the time that has elapsed
between the recording and the live playback and broadcast the report. Reportage programmes are when the playtime will not exceed six
minutes and not more than a quarter of the work is reproduced.
(4) No fee shall be paid upon using the recording for the theatre’s own use (including use as for a free or a nominal fee emitted promotional,
advertising the benefit of the employer or his entity).
(5) The rights of compensation may be otherwise agreed in the employment contract of paragraphs 1 and 2.
Artistic/technical staff: (1) Unless a copyright or related right exists, the stage technicians also receive in addition to the fee (§ 67 paragraph
1) for the participation in events for broadcasting purposes (live or recorded) and the transfer of rights required for the transmission and
rendering an appropriate special allowance. The special fee may be a flat rate by sub-arrangement in monthly instalments; the subarrangement can be terminated within a period of three months to the end of a season.
(2) In the case of paragraph 1, repeat payments, even in time-offset distribution via cable and / or satellite, as well as compensation for the
dissemination of the program outside of the transmission area contracted and participations on the proceeds from sales / leases of the
programme to foreign broadcasting companies have to be paid in a reasonable height.
(3) Not to be paid is the participation in reportage broadcasts of radio and television. This applies regardless of the time that has elapsed
between the recording and the live playback and broadcast the report. Reportage programmes are when the playtime will not exceed six
minutes and not more than a quarter of the work is reproduced.
(4) No fee shall be paid upon using the recording for the theatre’s own use (including use as for a free or a nominal fee emitted promotional,
advertising the benefit of the employer or his entity). Choir-singers and group-dancers: Numbers 1-4 of the soloists.
70. In the absence of such provisions, are performers generally paid for these uses in addition to the original performance fee?
Did not answer the question: Australia – MEAA; Austria – GdG-KMSfB; Canada – CAEA; Canada – ACTRA; Czech Republic – HA;
Denmark – DAF; Denmark – DSF; Estonia – ENLIIT; Germany – GDBA; Hungary – SDS; Madagascar – AATM; Nepal – FAAN;
Norway – NSF; Sweden – TF; Switzerland – SBKV; UK – Equity
Organisation
Argentina – AAA
Azerbaijan - CWU
Belarus – BGciAK
Yes
X
X
Brazil – SATED/ES
Brazil – SATED/MG
X
Brazil – SATED/RJ
Canada – SCAS
Chile – SIDARTE
Colombia – CICA
Ecuador – FENARPE
Finland – FNL
France – SFA
Georgia – ICSTEU
Greece – SEI
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Moldova – SICRM
Morocco – SMPT
Specify
En acuerdos por empresa se establece los salarios correspondientes
X
Performers are supposed to be remunerated for these uses pursuant to the
Belarussian copyright and neighbouring rights law, but BSAG is not aware if any
such payments have ever actually been made
X
X
En las grandes empresas de televisión, en las grandes productoras de cine la
remuneración es hecha y la ley es cumplida como se debe. Pero la gran mayoría
de las producciones llamadas independientes esto no se cumple.
X
X
X
X
X
X
X
X
X
X
X
X
X
X
Generalmente solo es interpretación en vivo.
If existed…
Ils devraient, voir la réponse précédente
Yes, according to the old agreements. But these kinds of uses have ceased to exist
today.
Depends on individuals contracts, but most performers are not paid for these uses.
X
X
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
X
Poland – ZZAP
Portugal – STE
Russia – RCWU
Slovenia – GLOSA
Turkey – AUT
Turkey – CASOD
Ukraine – CWUU
USA – AEA
Uruguay – SUA
X
X
No
In order to help the director to explore the possibilities and promote the opera (and
classical orchestra’s) our members tend to accept less and less over the years. For
the orchestra’s it is a little different. In the collective labour agreement the power to
negotiate the fee has been mandated to the works council (employees’ council)
X
X
X
X
Legalmente deberían ser remunerados, no lo hagan en algunos casos como por
ejemplo los spot publicitarios el sindicato reclama la repetición solo así se le paga
al artista, no hay voluntad de la empresa de pagar automáticamente.
Performers neighbouring rights.
X
X
X
X
X
X
X
X
X
If we agree to such uses, there will be terms negotiated.
X
71. Are performers in your country granted exclusive IP rights in relation to the exploitation of their live performances?
Did not answer the question: Madagascar – AATM; Switzerland – SBKV; Switzerland – SSRS
Organisation
Argentina – AAA
Australia – MEAA
In theory
Yes
No
X
X
In practice
Yes
No
X
X
Azerbaijan – CWU
Belarus – BSAG
X
X
Belgium – Aced Cultuur
Brazil – SATED/ES
Brazil – SATED/MG
X
X
X
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
X
X
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
X
X
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
X
X
X
X
X
X
X
X
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
X
X
X
X
X
X
Hungary – SDS
X
Specify
Any existing rights are inadequate. Equity will continue to seek to
improve performer IP rights.
We don’t have information
Performers are supposed to be granted these rights pursuant to
the Belarussian copyright and neighbouring rights law, but BSAG
is not aware if this has ever resulted in any economic benefit to
performers.
X
La ley dice que para sus efectos se considera:
publicación – ofreciendo obra literaria, artística o científica para
conocimiento del público, con el consentimiento del autor, o
cualquier otro titular de derechos de autor, por cualquier medio o
procedimiento; (obras literarias como novelas, poemas, obras de
teatro, obras de referencia, periódicos y programas informáticos;
bases de datos, películas, composiciones musicales,
coreografías, obras artísticas como pinturas, dibujos, fotografías y
esculturas; Arquitectura, anuncios, mapas y dibujos técnicos.)
X
X
Any full-length production that is filmed for distribution through any
means is transferred to ACTRA for administration.
X
X
X
X
We cannot provide any particular specification as some rights are
specified in the agreement of any particular company
En pratique : pas toujours
X
X
X
X
With the National Broadcasting Company related to broadcast
theatre performances in National Television. Guaranteed by
collective agreement.
X
X
X
211 Greek legislation does not provide this possibility. This is provided
to the producers, directors, photographers, electricians,
technicians, but not to the performers.
Article 73 of the Copyright Act grants all performers the right to
authorise or prohibit
a) the fixation of his unfixed performance;
b) the broadcasting or the communication in another manner to
the public of his unfixed performance, unless the performance
broadcast or communicated in another manner to the public is
itself a broadcast performance.
There are two exceptions to this general rule:
1. Free uses, regulated in respect of not just performers
but of all right owners (e.g. reporting on current events,
fixation or reproduction of a fixation for private
purposes)
2. The employer may freely record, broadcast or
otherwise use performances made under the terms of
an employment contract to the extent participation in
the performance was clearly stipulated under such
terms as an employment obligation of the performer
(see also the reply to Q69). There is not much happening on this issue because it (recording
etc.) does not really happen very much
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NSF
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
X
X
X
X
X
X
X
X
X
X
X
Slovenia – GLOSA
Sweden – TF
Turkey – AUT
Turkey – CASOD
Ukraine – CWUU
X
UK – Equity
X
For actors we have an assumption of transfer of rights to the
producer and the right to an equitable remuneration for the actor.
In practice the remuneration has over the years decreased until 0.
X
X
X
X
X
X
X
X
X
X
X
X
X
Poland – ZZAP
Portugal – STE
Russia – RCWU
USA – AEA
Uruguay – SUA
X
X
X
X
X
X
X
It varies
X
In principle, these issues are outside the scope of the RCWU
powers.
X
Our legislation does not give any rights to actors
La sociedad de gestión existente tiene muchos problemas de
cobranza, no hace efectivo lo que dice la ley, internamente tiene
muchos problemas.
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
212 In principle, these issues are outside the scope of the CWUU
powers.
Yes. As you know we guard the exclusive IP rights of our
members very closely.
LIVE PERFORMANCE IN THE DIGITAL AGE
72. Are digital media and social networks a source of new challenges for your members working in live performance?
Did not answer the question: Cameroon – SCAS; Madagascar – AATM; Switzerland – SSRS; Turkey – AUT; Ukraine – CWUU
Organisation
Argentina – AAA
Yes
X
Australia – MEAA
Azerbaijan - CWU
Belarus BSAG
Brazil – SATED/ES
Brazil – SATED/MG
X
X
Brazil – SATED/RJ
Canada – CAEA
X
X
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Denmark – DAF
X
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FAU
France – SFA
X
X
X
X
X
Georgia – ICSTEU
Germany – GDBA
X
No
Challenges
Es importante el encuadramiento en el convenio colectivo de trabajo de estas
posibilidades de difusión de nuestro trabajo.
X
We haven’t been confronted with these challenges yet.
X
X
X
Una gran controversia con respecto a los derechos en el entorno digital es la función
social de la creación artística. Los gobiernos tienen el derecho de utilizar la ley para
dar acceso a la obra intelectual y artística a las personas con discapacidad, o para
obras de enseñanza. Pero las grandes empresas quieren adoptar cada vez más el
cifrado para proteger este material. En este caso, no puede ser utilizado por cualquier
persona.
On the positive side, they are used as a way to engage audiences with the production
or to engage with the theatre company outside of specific productions. Yes
Increasingly, producers want to record their productions for archival purposes,
publicity and promotion and occasionally, streaming on the internet. Our agreements
allow for archival recordings and use of short clips for promotion and publicity. Entire
productions must be contracted for with ACTRA.
X
X
X
X
New field of work, like internet drama series
Yes and no. Yes, in relation to authorization and payment from such uses. No,
because some members proactively use this as a promotion tool.
Le respect des droits de propriété littéraire et artistique Par ailleurs les artistes doivent
maitriser ses outils pour pouvoir trouver du travail.
X
Greece – SEI
Hungary – SDS
X
Especially older performers have great knowledge gaps/distrust using digital media or
social networks even though these media can help promote a career. There are a few
new jobs for performers emerging from this media, but numbers are not really
relevant.
In the middle of crisis, this challenge has not appeared yet.
Theatres, as well as artists themselves, are increasingly using digital platforms
(mostly the web) and social networks to reach audiences. In 99% of the cases, the
purpose of using them hardly goes beyond providing information (e.g. on timing of
shows, on eventual cancellations or changes in the cast, on publicising praise for the
show by the press). Most of the content is therefore textual. Apart from the typical
rehearsal photos and short video teasers, multimedia content is scarce.
Most theatres employ professional web developers, the personal web pages and
profiles of artists are however very uneven in terms of content and quality. Ireland – SIPTU / IE
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NSF
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
X
X
X
X
Piracy and unpaid use
Piracy and unpaid use
No comment
X
X
X
X
X
X
X
X
X
X
La concurrence déloyale et piratage
Copy right and piracy
How to get paid for exploitations
Copyright evasions and contraventions are increasingly a problem. Many members
are making their own web-series or weblogs without payment.
Bootleg recording and dissemination
La reproducción
Desafíos a nivel de difusión y promoción, a nivel escenográfico, a nivel comercial
Diríamos que los desafíos son tanto par las empresas como para los propios artistas.
213 Poland – ZAAP
Portugal – STE
Russia – RCWU
X
X
X
A freshly adopted law is designed to combat piracy in the Internet, including
unauthorized fixations of live performances.
Slovenia – GLOSA
Sweden – TF
Turkey – CASOD
X
UK – Equity
USA – AEA
X
X
Uruguay – SUA
X
X
X
No yet
There still are greater challenges such as getting paid for your work, working under
health-safety regulations.
Recording of live performances and uploading to the internet is a constant threat.
Producers have expressed concerns about social media postings related to their
productions. Also, as shows use social media, the demands on performers to
participate may increase.
Also, some casting directors are now accepting digital submissions, which puts our
member in the position of having to create such.
X
73. Is the rapidly increasing number of portable devices (e.g. smartphones, tablets, game consoles, etc.) a source of new
challenges for your members working in live performance?
Did not answer the question: Switzerland – SSRS; Turkey – AUT
Organisation
Argentina – AAA
Yes
X
Australia – MEAA
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
X
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
X
No
X
X
Challenges are emerging but we haven’t been able to tackle them yet.
X
X
X
X
X
X
No solamente para mis miembros pero para todos los artistas del país
Défi de la protection des droits
Yes but primarily the issues are with tweeting during productions or audience
members recording productions on their mobiles and posting unauthorized clips
online. Occasionally, we get a request from a producer to discuss creating an
educational app or game using clips of live performances, usually a Shakespeare
play. So far, none of the projects have been made. The ubiquity of camera phones
has made privacy backstage a continuing issue.
X
X
X
X
X
X
X
X
Especially older performers have great knowledge gaps/distrust using digital media or
social networks even though these media can help promote a career. There are a few
new jobs for performers emerging from this media, but numbers are not really
relevant.
X
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
X
X
Peru – SAIP
Poland - ZZAP
Portugal – STE
Russia – RCWU
Slovenia – GLOSA
Sweden - TF
Not yet
Unauthorized recording of live performances.
X
X
X
Greece – SEI
Hungary – SDS
Norway – NSF
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Challenges
Sí, en la medida que se propaguen. La concreción de Convenios Colectivos que
contengan estas prácticas serán la única solución
For the time being, these platforms are used only to the extent they offer web
browsing optimised for portable devices. We are currently not aware of any
Hungarian apps specifically developed for portable OS-s or consoles.
X
X
Performance use that we cannot control
Performance use that we cannot control
No comment
Protection du droit des artistes interprètes
X
X
X
X
X
Piracy
We have managed to get these devices under the private copying system. But the
industry (hardware and recordable) is doing what they can to frustrate the system and
the collection of levies.
X
X
X
X
X
See above under 68
La gente utiliza sus celulares durante las funciones. El nivel de concentración es
menor que antes
Responsabilidad, profesionalismo y capacitación.
X
X
X
X
X
X
X
X
215 Switzerland – SBKV
Turkey – CASOD
Ukraine – CWUU
UK – Equity
USA – AEA
Uruguay – SUA
X
X
The usual. Stealing
There still are greater challenges such as getting paid for your work, working under
health-safety regulations.
X
X
Yes, as per question 71 and in distracting performers as these devises are
increasingly used in auditoriums.
Audience members using their devices during shows can be quite disruptive.
X
X
Did no answer the question / answered “no”: Argentina – AAA; Australia – MEAA; Austria – GdG-KMSfB; Azerbaijan - CWU;
Belarus – BSAG; Belgium – ACOD Cultuur; Brazil – SATED/ES; Brazil – SATED/RJ; Canada – ACTRA; Chile – SIDARTE; Colombia
– CICA; Czech Republic – HA; Denmark – DAF; Denmark – DSF; Ecuador – FENARPE; Estonia – ENLIIT; Finland – FNL; France –
SFA; Georgia – ICSTEU; Germany – GDBA; Greece – SEI; Hungary – SDS; Ireland – SIPTU / IE; Japan – JAU; Kazakhstan – CWU;
Kyrgyzstan – CWU; Latvia – LKDAF; Madagascar – AATM; Moldova – SICRM; Morocco – SMPT; New Zealand – Equity NZ; Norway
– NSF; Norway – NoDa; Panama – UNAP; Paraguay – CEPATE; Poland – ZZAP; Portugal – STE; Romania – FAIR-MediaSind;
Russia – RCWU; Slovenia – GLOSA; South Africa – SAGA; Switzerland – SBKV; Switzerland – SSRS; Turkey – AUT; Turkey –
CASOD; Ukraine – CWUU; Uruguay – SUA
Brazil – SATED/MG
Si, el ejemplo de buenas prácticas es la aplicación de la ley.
Cameroon – SCAS
Les droits voisins ne sont pas encore pris en charge, malgré l’existence d’une Loi
Canada – CAEA
We have recently concluded two separate deals with ACTRA for two separate production companies to record material and make it
available in different ways. We will be pleased to provide you with the agreements when they are in their final form.
Nepal – FAAN
Yes, we have copy rights and patenting law
The levy on devices system can work. The big companies such as Apple pay without hesitation. The government could be a little more
supportive by helping by all means the make the system as steady as possible, and stronger against lawsuits.
Peru – SAIP
La imagen viaja mas rápido, no necesitas cable, TV; basta con tener un teléfono inteligente para que te vean en cualquier parte del mundo,
tanto te puede beneficiar como perjudicar, beneficiar es como te puedan contratar para trabajar o también te pueden perjudicar, graban tu
imagen y puede ser retransmitida en un comercial en cualquier parte del mundo sin que te puedas enterar.
Sweden – TF
Yes
UK – Equity
Yes, collective Agreements limit the filming of productions.
USA – AEA
There are laws about the use of cell phones in theaters, but they are difficult to enforce.
217 AUDIENCES AND TASTES IN LIVE PERFORMANCE
75. Are live performance audiences growing, declining or stable over the past five years?
Did not answer the question: Norway – NSF; Norway – NoDa
Organisation
Argentina – AAA
Australia – MEAA
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
Growing
Declining
X
X
X
X
X
X
X
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
X
X
X
X
X
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
X
Greece – SEI
X
Falta de apoyo
X
X
X
Amelioration of the people’s living standards.
X
X
There is still a strong middle-class in Germany. The people of the middleclass are a strong factor for a stable audience. Society is growing older.
The elderly are also a strong factor for a stable audience. Theatres have
made great efforts to gain new audiences (young people, students, pupils,
migrants).
Although no one can make a living on theatre any more, people are still
passionately working on this area, even without any payment at all.
Theatre in Greece is currently in a very productive and challenging time.
Audiences increase, especially now that new TV productions have ceased
to exist, so theatre is their only recreation. After all, there are about 30
drama schools in Athens, producing about 500 new actors per year (!!!).
All these people want to do something. Performing spaces have grown
(although very small most of the time), and there are about 300 new
productions in Athens every year.
X
X
Recession means people have less money to pay for tickets and funding
has been reduced
Seriously declining by decreasing birth rate and aging population.
X
Modern repertoire, international co-productions, higher artistic
quality of productions.
X
Kyrgyzstan –CWU
Faltan programas de públicos y mayor educación artística para la
sociedad en su conjunto, el arte no cumple un rol relevante en la
educación.
La televisión, el cable, los costos de la publicidad, el público no quiere
pagar por ir al teatro.
Fortunately, from the beginning of the new century the number of
audiences slightly increased, probably thanks to the poor quality of TV
broadcasts.
X
X
Hungary – SDS
Latvia – LKDAF
Traditional interest in the live performance.
Of the 75% of Canadians who attend cultural events, attendance at live
performance activities has dropped by 2% in 2012 (63%) since 2001
(65%). All-time high live-performance attendance was in 2007 (69%). No
doubt this is due to the proliferation of ways to view film and television
productions. It is much less expensive to go to a film than to go to the
theatre. Canadians have very positive attitudes toward arts and culture in
Canada. Two-thirds (66%) of recent survey respondents feel that arts and
cultural events are important in terms of quality of life for them and their
families. Trend: 71% of surveyed Canadians now use the Internet to
engage in a variety of online activities related to arts and culture.
http://epe.lac-bac.gc.ca/100/200/301/pwgsc-tpsgc/poref/canadian_heritage/2012/089-11-e/summary.pdf
X
X
Colombia – CICA
Why?
La continuidad en la calidad y variedad de espectáculos. El poder
adquisitivo del público.
Post-GFC recovery.
En mi estado aumenta mucho en enero y febrero por la realización de una
Campaña de popularización del teatro.
Canada – ACTRA
Chile – SIDARTE
Japan – JAU
Kazakhstan – CWU
Stable
X
X
The audiences appear to be stable but the stability seems fragile enough,
because the sector if facing serious challenges, such as lack of funding,
and lack of quality artistic directors and writers/playwrights.
X
218 Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
X
X
X
X
X
X
Peru – SAIP
X
Slovenia – GLOSA
Sweden – TF
Turkey – AUT
Turkey – CASOD
Ukraine – CWUU
UK – Equity
USA – AEA
Uruguay – SUA
En vu de la construction des salles et l’appui à la production et à
l’organisation des festivals
X
Panama – UNAP
Paraguay – CEPATE
Poland – ZZAP
Portugal – STE
Russia – RCWU
A cause de l’instabilité politique et la pauvreté de la population qui ne
cesse d’augmenter
Crisis. Less income.
The established companies are playing conventional material to an
increasingly older audience which is declining. The young co-operative
project-based companies are playing to a growing youth base.
X
A nosotros nos cuesta mucho la difusión y promoción de las obras y las
redes sociales han hecho más fácil esta tarea
Hay una mejora en las presentaciones, también la publicidad y el
marketing.
X
X
X
X
It doesn’t grow because people have no money left for cultural activities.
The analysts of the Ministry of Culture do not attempt to offer any plausible
explanation for the apparent reversal of the downward trend observed
since 2005. We believe that several factors may have contributed to it,
including the generally sustained growth of income across the urban
population and a resurgence of interest in the live theatre as new media
are becoming less of a novelty.
X
X
X
X
X
X
X
X
It may be growing in big cities such as Istanbul. The TV series becoming
very big, and known faces from TV series taking part in theatre
productions, and new independent companies that offer a fresh
perspective in theatre may have increased the number of audiences in
these places. But as a country overall, we think it comes to a stable
number.
There is, in fact, a slightly ascending trend (see the table below).
X
X
It varies – in the commercial sector, it is up some years and down others,
but there has been a decrease most recently. In the not-for-profits, it is
generally declining, though one big “hit” can change that. I don’t think
there is any one reason we can pinpoint, but ticket prices have gone up,
and the recession certainly would have had an impact.
X
Russia – RCWU
Theatre visits in Russia per 1,000 population, 1970-2010. Source: State of the Russian Culture in 2013: Governmental Report, prepared by the Ministry of Culture of the
Russian Federation, p. 319. Available from: http://www.mincultrf.ru/upload/mkrf/mkdocs2014/doklad_block.pdf (in Russian).
219 Theatre visits in Russia per 1,000 population, 2004-2011. Source: State of the Russian Culture in 2013: Governmental Report, prepared by the Ministry of Culture of the
Russian Federation, p. 320. Available from: http://www.mincultrf.ru/upload/mkrf/mkdocs2014/doklad_block.pdf (in Russian).
Ukraine – CWUU
Theatre visits in the Ukraine per 100 population, 1990-2013 (the relevant line is highlighted in yellow). Source: Culture, Arts, Recreation and Sports Facilities in the Ukraine
in 2013: A Statistical Bulletin, prepared by the State Statistics Service of the Ukraine, p. 10. Available from:
http://www.ukrstat.gov.ua/druk/publicat/kat_u/2014/bl/05/bl_zkm_2013.zip (in Ukrainian).
As in most other former Soviet Republics, theatre-going in the Ukraine plummeted during the first half of 1990’s, went on decreasing slowly
until the early 2000’s and then began picking up slowly anew. We believe that several factors may have contributed to it, including the
generally sustained growth of income across the urban population and a resurgence of interest in the live theatre as new media are
becoming less of a novelty. It remains to be seen just how theatre-going will be affected by the tumultuous developments of the past 12
months.
76. Are there particular trends in productions that audiences favour?
Did not answer the question: Norway – NSF; Norway – NoDa; Russia – RCWU; Ukraine – CWUU
Organisation
Argentina – AAA
Australia – MEAA
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
Brazil – SATED/RJ
Cameroon – SCAS
Canada – ACTRA
Canada – CAEA
Yes
X
X
X
X
X
X
Greece – SEI
X
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
X
X
Unable to answer this.
Mostly yes, but sometimes no.
No se si entiendo bien, pero las audiencias son la razón de existir del arte y del artista
X
X
X
X
X
UK – Equity
USA – AEA
Specify
X
Chile – SIDARTE
Colombia – CICA
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Slovenia – GLOSA
South Africa
Sweden – TF
Switzerland – SSS
Turkey – AUT
Turkey – CASOD
No
X
Multi media is hot right now (Robert Lepage) Musical style productions
Anecdotally, I say too soon to tell. I see more and more reduced cost ticket programs geared to
the 24-30 year old demographic. Festivals and small-scale theatre appeals to younger audiences
because of the reduced ticket prices and unconventional performance spaces.
Producciones aseguradas por éxito anterior
La comedia y los espectáculos ligeros.
X
X
X
X
The theatres have a hard time figuring out what is popular. Musicals however are.
X
X
X
Des spectacles mêlant plusieurs disciplines artistiques et utilisant les nouvelles technologies.
X
X
Right now many people seem to like stage-adaptions of famous books or films. Also hiring a
celebrity from film or TV can be helpful for bringing audiences into the theatre.
Young teamwork, satire or comedy, bar-theatre for younger audiences. Musical shows, or
serious repertoire for the older.
Musicals and boulevard plays
X
X
X
X
Sub-culture, or star involvement.
X
X
Les spectacles tropicaux
X
X
X
X
Classical music, opera, dance and ‘highbrow’ theatre are losing quicker audience than musical
and pop culture. Cabaret is probably doing best.
Innovative (unpaying) productions appeal to a young audience (often of their peers) Interest in
older conventional work is declining. Our funding model favours new work by NZ artists; work by
established, international writers is done less and less, classics done hardly ever except cooperative or unpaid performances of Shakespeare
X
X
X
Las comedias livianas y teatro de revistas
Incentivan a los artistas.
X
X
Theatre, Dance and Music Festivals
X
X
X
X
X
Musical theatre draws the most audiences
Musicals
Musicals, Stand-Up Comedy
X
X
X
X
The ones with celebrities for the overall audience. For faithful theatre lovers, the ones that offer
new plays, and a timely fresh perspective in their plays.
Promenade theatre, installation theatre, immersive theatre etc.
It would be easy to say yes, and answer “big splashy musicals” – but then you will get audiences
lined up for Shakespeare or Lorraine Hansbury or Steinbeck, often based on who is cast.
Especially in commercial theatre, star casting for dramatic productions is becoming more and
more common as it is perceived as an audience draw.
221 Uruguay – SUA
X
Espectáculos extranjeros de corte comercial
77. Are young people attracted to different kinds of live performances?
Did not answer the question: Norway – NSF; Norway – NoDa; Russia – RCW; Ukraine – CWUU
Organisation
Argentina – AAA
Australia – MEAA
Yes
X
X
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
Brazil – SATED/RJ
Cameron – SCAS
Canada – CAEA
X
X
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
X
X
X
X
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
X
X
X
X
X
X
X
Specify
La variedad de espectáculos y la aparición de nuevos creadores empujan esta tendencia
Presumably yes. Insufficient quantitative evidence to support this assertion however.
Free theatres productions and free productions are attractive for Young people also the Musical
productions
Mainly, musical/plastic theatre productions.
X
X
X
Cuando la obra es de su interés y hecha para su edad
X
X
X
They do not seem to be interested in ballet or opera although that may be because the tickets
are prohibitively expensive for them. They seem to be interested in interactive and less
traditionally structured theatre.
Site specific
Es mayor su presencia en el teatro independiente, es un público que corre mayor riesgo
Experimentos de micro teatro. Teatro en espacios no convencionales. Espectáculos que
involucren la música.
Young audiences in big cities are, as always, more attracted to the new forms of productions,
than the audiences in smaller places.
X
Greece – SEI
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
X
X
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Slovenia – GLOSA
Sweden – TF
X
X
Turkey – AUT
Turkey – CASOD
UK – Equity
USA – AEA
X
X
No
Des spectacles mêlant plusieurs disciplines artistiques et utilisant les nouvelles technologies.
Younger people are visiting less traditional productions rather than the usual opera-piece or play
(musicals, alternative venues, alternative formats)
See above
They prefer alternative theatres
No evidence either way
Girls idols groups
Young people favour innovative artistic solutions and modern approaches to performances.
Young people favour innovative artistic solutions and modern approaches to performances.
No comment
Les spectacles tropicaux représentés en plein air et dont le prix d’entrée est très modeste
X
X
X
X
X
X
X
X
Festivals of all sorts are doing relatively good. Especially with pop music and food and drinks.
Also multi focus festivals: music, arts, politics, etc. And Dance events (Dance as in Trance, DJ’s
etc. although I am not sure if one DJ qualifies as life performance).
Interactive, multi-media, edgy, multi-discipline (dance/music/ drama)
X
X
X
X
X
Hay talentos jóvenes también
New forms of Live Performances
X
X
X
X
Musical theatre and educational theatre productions seem to draw younger audiences
Stand-Up Comedy. The concentration span is much shorter; This sector is less demanding of the
audience.
Par exemple hip hop, performances, etc.
Interactive theatre
X
X
Immersive theatre and commercial dance.
We do not do this kind of demographic analysis of audiences. Some producing organizations
do, and they would say based on their research that young people are not going to the theatre at
all in large numbers. For example, on Broadway:
http://www.broadwayleague.com/index.php?url_identifier=the-demographics-of-the-broadway-
223 audience
Uruguay - SUA
X
224 SPECIFIC QUESTIONS – Dancers
78. Does your union/organization have specific agreements and services for dancers?
Do not represent dancers: Belarus – BSAG; Ireland – SIPTU / IE
Organisation
Argentina – AAA
Yes
X
Australia – MEAA
Azerbaijan – CWU
Brazil – SATED/ES
Brazil – SATED/MG
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
X
X
X
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NSF
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Romania – FAIR-MediaSInd
Russia – RCWU
Slovenia – GLOSA
Sweden – TF
No
Specify
Los contienen nuestros estatutos y Convenios Colectivos de Trabajo en todas las
ramas. Cine, Teatro, Publicidad, Televisión
Collective agreement with a range of professional dance companies.
Collective agreements in all fields of the big theatres in Austria
X
X
X
Hay acuerdos firmados directamente con las compañías de Danza
X
X
X
4 agreements with ballet companies, Canadian Dance Policy for independent
dancers, specific conditions in theatre agreements for dancers in musicals.
X
X
X
Empleo como Artistas Formadores
X
X
X
In some theatres. Not all
X
X
X
X
Les danseurs sont inclus dans les accords d’entreprises et les conventions
collectives négociés par le SFA qui représentent ces artistes.
X
X
In our collective agreement NV Bühne solo-dancers are covered within the
regulations for soloists (actors, solo-singers, dramatic-advisors and others). Group
dancers are covered by special regulations for the collective. For soloists there is
only a minimum-wage set of 1.650 Euro with the possibility to negotiate any amount
above that. For group dancers the NV Bühne offers wage-lists in the same height
as the ones for choir-singers. The lowest wage starts at 2.348 Euro and the highest
lies above 3.162 Euro. The wage-classification depends on the size of the theatre.
There are also regulations for extra payments depending on how long they work at
the theatre. The regulations for rehearsal times and free days for group dancers are
different from the soloists. They are stricter.
X
X
X
X
X
X
X
X
Il y en a dans le statut du futur Syndicat des Artistes Interprètes Malagasy SAIM.
Dancers are generally covered by collective agreements negotiated in respect of
theatre companies.
X
X
X
X
Collective labour agreement, and legal services, lobby etc.
We have only recently opened membership to dancers. So far no specific
provisions have been made
X
X
X
As specified earlier
X
X
X
X
X
X
No agreements. Dance Passport.
Collective agreements negotiated in ballet and musical theatres, such as the
Bolshoi or the Moscow Stanislavsky Musical Theatre, contain terms and conditions
that are specific to dancers.
X
X
X
X
Our Union founded a foundation for the Transition of performing artists (this is
mainly demanded by dancers.) / Collective Agreements
225 Switzerland – SSRS
Turkey – AUT
Turkey – CASOD
Ukraine – CWUU
X
X
X
X
UK – Equity
X
USA – AEA
X
Uruguay – SUA
X
Collective agreements negotiated in the ballet and musical theatres contain terms
and conditions that are specific to dancers.
Scottish Ballet, Royal Ballet, Northern Ballet, English National Ballet, Solt West
End, ITC Ethical Manager and UK Theatre Commercial Tour Agreements. Services
include the Dance Passport and Dancers Insurance.
Dancers, Singers, Actors, and Stage Managers are all covered under our contracts,
and while there are some variations in work rules due to duties, we do not have
separate agreements based on these categories. Our Pension Plan, for example,
is based on earnings for each person, not on the category in which they worked.
Q79: Are there specific pension schemes for dancers at the end of their performing careers?
Do no represent dancers: Belarus – BSAG; Ireland – SIPTU / IE
Organisation
Argentina – AAA
Australia – MEAA
Azerbaijan – CWU
Brazil – SATED/ES
Brazil – SATED/MG
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
Yes
X
X
X
X
X
X
X
Georgia – ICSTEU
Germany – GDBA
X
Superannuation guarantee, though strictly accessible upon retirement from the
workforce.
X
X
Latvia – LKDAF
Specify
X
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Czech Republic
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Greece – SEI
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
No
X
Los bailarines no hacen parte de nuestro sindicato.
National Ballet and Les Grands Ballets Canadiens have termination payments when a
dancer’s contract is not renewed for the next season, which can be as high as 2 weeks
of pay for each year of seniority for a Principal Dancer. There are no specific pension
schemes for dancers. The National Ballet also has “retirement” payment (60% of the
non-renewal payment) when a dancer decides to terminate their ballet career.
X
X
X
X
X
X
X
X
X
Seulement à l’Opéra de Paris. Il existe cependant un Fonds de professionnalisation
permettant d’aider les danseurs à se réinsérer professionnellement à la fin de leur
carrière.
X
Old-age pension for dancers in Germany: Dancers have access to four types of pension
schemes: the general national pension scheme, the German Theatrical Pension Fund
(Versorgungsanstalt der deutschen Bühnen) in the Bavarian Chamber For Social
Benefits And Pensions, the Artists’ Social Security Fund (Künstlersozialkasse – KSK)
and private pension schemes. After 15 years of employment at the same theatre a
dancer (or any other theatre artist) has permanent status and will be further employed
by the theatre, though not necessarily as a dancer or in the dance field. Particularly
interesting are the mechanisms set up by the German Theatrical Pension Fund and the
Artists’ Social Security Fund: The German Theatrical Pension Fund in the Bavarian
Chamber For Social Benefits and Pensions. The insurance with this fund takes effect
irrespective of the length of employment. Guest performances also activate the
insurance. The only prerequisite is that the dancer (or any other feater artist) works in
“dependent employment”. However, more and more performers work as self-employed
even though they are “bound by instructions” and should officially be employees. Thus
the board decided in 2009 to change the charter. If a person works in a theatrical
production as an employee or as a self-employed worker for more than seven days
(rehearsal or performances) for one production in a year s/he has to be insured in the
German Theatrical Pension Fund. The employer and the artist each pay 4.5% into the
fund. From 2011 onwards the deposited money can either be disbursed if the dancer
retires from a theatrical profession between the ages of 35 and 44 (“Dancers Refund”)
or it will be paid as a pension later. Dancers ending their career after the age of 44 are
only able to get the money as a pension. Up to 2010 dancers were able to get the
“Dancers Refund” until the age of 40 and it was unconditional. The regulation of the
“Dancers Refund” is an exception to the rule. The other artist-groups do not have this
regulation, because dancers’ careers generally end earlier. The reform of the “Dancers
Refund” in 2010 will tie the Refund more to an actual transition scheme. For more
information on the German Theatrical Pension Fund see:
http://www.buehnenversorgung.de/portal/page/portal/vddb/de/index.html
X
X
Only 4 companies can enjoy pension schemes
X
X
X
X
These pension schemes are provided for by the Labour Code and governmental
decrees dealing with compensation for arduous or strenuous work. Eligibility for a
pension depends on the number of years worked on stage.
There is a special Low on earlier retirement of musicians, actors, ballet dancers, circus
artists, choir-singers, working in theatres, orchestras or circus, owned by state or local
227 authorities
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NSF
Norway – NoDa
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Russia – RCWU
Slovenia – GLOSA
X
X
X
X
X
X
X
This must be answered by the dancers union, NoDa
Not for all the freelancers, but for the dancers in our only state funded company, the
dancers get an “after pay” if they leave the company freely at 35 to 40 years of age. The
dancers in the National ballet gets pension from the age of 41. But this agreement is up
for debate by the government.
X
X
X
El ballet nacional tiene a la mayoría de sus integrantes asegurados, esto les va a
permitir cuando tengan la mayoría de edad, gozar de una pensión.
X
X
It is in discussion a new law because the existing is too incomplete, not contemplating
the age, the risk profession or the alternatives for the end of their careers.
X
These pension schemes are provided for by the legislation and regulations
dealing with compensation for arduous or strenuous work. Eligibility for a
pension depends on the number of years worked on stage: for ballet dancers
(soloists), the requisite term is 15 years; for other dancers, it is 20 years.
X
X
X
X
X
UK – Equity
X
A specific pension scheme and a specific career transition scheme.
X
Sweden – TF
Turkey – AUT
Turkey – CASOD
Ukraine – CWUU
USA – AEA
Uruguay – SUA
There is a Law on Theatre, Circus and Variety providing for specific pension schemes
for dancers.
It is a very big Problem that a dancers career Ends at approx.. 35. This Needs to be
addressed at a very early stage (while they are being educated to become dancers) We
must work together with the Schools on this Problem.
X
X
X
X
These pension schemes are provided for by the legislation and regulations dealing with
compensation for arduous or strenuous work. Dancers who have worked on stage for
20 years are eligible to join this scheme.
Dancers Pension Scheme that employees of the ENB, Rambert, RB, SB and NB pay
into.
X
X
Q80: Are those schemes challenged by changes in employment status?
Did not answer the question: Argentina – AAA; Austria – GdG-KMSfB; Belgium – ACOD Cultuur; Brazil – SATED/ES; Cameroon –
SCAS; Canada – CAEA; Colombia – CICA; Czech Republic – HA; Denmark – DAF; Denmark – DSF; Ecuador – FENARPE; Georgia –
ICSTEU; Kazakhstan – CWU; Madagascar – AATM; Morocco – SMPT; New Zealand – Equity NZ; Norway – NoDa; Portugal – STE;
Romania – FAIR-MediaSind; Russia – RCWU; South Africa –SAGA; Sweden – TF; Switzerland – SBKV; Switzerland – SSRS; Turkey
– AUT; USA – AE
Do no represent dancers: Belarus – BSAG; Brazil – SATED-RJ; ACTRA; Chile – SIDARTE; Estonia – ENLIIT; Finland – FNL; Ireland
– SIPTU / IE; Greece – SEI; Japan – JAU; Nepal – FAAN; Norway – NSF; Panama – UNAP; Paraguay – CEPATE; Poland – ZZAP;
Turkey – CASOD; Uruguay - SUA
Organisation
Australia – MEAA
Azerbaijan – CWU
Brazil – SATED/MG
France – SFA
Germany – GDBA
Yes
X
X
Hungary – SDS
Kyrgyzstan – CWU
Latvia – LKDAF
Moldova – SICRM
Peru – SAIP
Poland – ZZAP
Slovenia – GLOSA
Ukraine – CWUU
UK – Equity
No
X
X
Specify
Deberían ser
Mais ils sont menacés par des réformes successives des retraites en France
The insurance with this fund takes effect irrespective of the length of employment.
Guest performances also activate the insurance. The only prerequisite is that the
dancer (or any other theatre artist) works in “dependent employment”. However,
more and more performers work as self-employed even though they are “bound by
instructions” and should officially be employees. Thus the board decided in 2009 to
change the charter. If a person works in a theatrical production as an employee or
as a self-employed worker for more than seven days (rehearsal or performances)
for one production in a year s/he has to be insured in the German Theatrical
Pension Fund.
X
So far, all dancers applying for this kind of pension have had employed contracts
throughout their artistic careers.
X
X
More difficult to get the scheme funded (used to be related to wages of employees).
More difficult to get dancers identified as possible applicant.
X
X
X
X
Cuando los contractos son por locación de servicios.
X
X
Cf. the answer to Q.14 above.
Recent national insurance changes posed a threat as confusion on dual status in
tax and employment law can lead engagers to question such entitlements.
Q81: Do your dancers members have opportunities for their career transitions?
Did not answer the question: Brazil – SATED/MG; Denmark – DAF; Madagascar – AATM; Peru – SAIP
Do no represent dancers: Belarus – BSAG; Brazil – STAED/RJ; Chile – SIDARTE; Estonia – ENLIIT; Finland – FNL; Ireland – SIPTU
/ IE; Greece – SEI; Norway – NSF; Paraguay – CEPATE; Turkey – CASOD
Organisation
Argentina – AAA
Australia – MEAA
Yes
X
Azerbaijan – CWU
Brazil – SATED/ES
Brazil – SATED/MG
Cameroon – SCAS
Canada – CAEA
X
X
X
Canada – ACTRA
Colombia – CICA
Czech Republic - HA
Denmark – DSF
Ecuador – FENARPE
France – SFA
Georgia – ICSTEU
Germany – GDBA
Hungary – SDS
Japan - JAU
Kazakhstan – CWU
X
Kyrgyzstan – CWU
X
Latvia – LKDAF
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NoDa
Panama – UNAP
Poland – ZZAP
Portugal – STE
Romania – FAIR-MediSind
Russia – RCWU
Slovenia – GLOSA
Sweden – TF
X
Turkey – AUT
Ukraine – CWUU
UK – Equity
X
USA – AEA
X
Uruguay – SUA
No
X
X
Specify
Actoralmente
Limited opportunities, with few avenues for a supported transition, if any.
The Union does not grant career transitions, but public authorities like the Austrian
Arbeitsmarktservice (AMS)
Estamos trabajando para eso
X
X
The Dancers Transition Resource Centre provides assistance with academic,
career, financial, legal, personal counselling, Grants & Awards to develop
transferable skills, explore second career options, and retrain for parallel or second
careers, an Online Job Board and an Online Member/Alumni Network.
Through dancers in transition org
X
X
X
X
X
Voir plus haut
X
X
****
X
X
X
Being teachers at companies
Yes, they can and do obtain alternative professions/qualifications through
postsecondary and/or tertiary studies.
Yes, they can and do obtain alternative trades through postsecondary and/or
tertiary studies.
X
X
X
X
We have a transition scheme for that purpose
X
X
The Carte Blanche dancers can use their “after pay” for education.
X
X
X
X
X
X
X
X
X
Well we help through our foundation (financially and with Information but this is a
Problem that Needs to be addressed on a national scale
X
X
X
Dancers Career Development for dancers in the above companies. Unfortunately
not for dancers working in small scale and unpaid areas or for those who work on a
freelance basis.
There is at least one organization offering service to dancers – Career Transitions
for Dancers. Also, dancers might transition into choreography and/or stage
management, based on interest, connections, and of course, ability.
X
**** In Germany all unemployed persons (including dancers) who have paid unemployment contributions from dependent work can access
general training and skills development schemes offered by the employment office. The employment office pays for a limited period of 24
months. There is no right for the employee or unemployed citizen/dancer to get a re-training course paid for by the employment office. It is
the administrator who decides in each case. Furthermore, the job market situation may be a crucial factor. Dancers with a university degree
are able to study for a second degree in another field but they are not able to get federal student support for that. Dancers with a
230 matriculation standard before their non-university dance training (which is very rare) can only get federal student support for academic
studies if they are under 35. As regards self-employed dancers, they will not automatically receive financial support for occupational retraining from the employment office. If a self-employed artist can’t work any more, s/he will receive social allowances (Hartz IV), with training
programmes offered. As regards transition of dancers, an interesting regulation is the German Theatrical Pension Fund in the Bavarian
Chamber for Social Benefits and Pensions (BVK). For each theatre engagement of an artist in a dependent employment the engaging
theatre and the employee are both obliged to pay 4.5 of the salary into the BVK. The BVK is a public authority in Bavaria in charge of
administrating an additional pension scheme plus regulations for work-disability following an insurance model. The money deposited for the
dancers (as an exception to other theatrical professions) can either be paid out between the ages of 35 and 44 – called dancers refund - or
will be paid later as a pension. What is new is that dancers who have the money paid out before the age of 44 have to prove that they use
the money for career transition or business start-up. In the case of work accident/injury, the state pays for a transition in a new profession if
the dancer concerned can prove, that for physical reasons s/he can’t make a living anymore from dancing, for example. The dancer has to
go to a state provided doctor, who will check on his/her general health and provide an official paper stating that it is impossible to continue
working 8 hours every day as a dancer. In general, after 15 years on stage any doctor will agree to provide such a certificate. If the dancer
worked more than 15 years as an employee, the German Pension Insurance (Deutsche Rentenversicherung8) is in charge. Dancers who
worked less than 15 years have to go to the employment office (Agentur für Arbeit). There are regulations for work-disability before the age
of 35 at the Bavarian Chamber for Social Benefits and Pensions (BVK). In fact, the state pays for a transition to a new profession for
everybody - including dancers- if they can prove that for physical reasons they can no longer make a living. In recognition of the transition
needs for dancers, several initiatives have been set up in the past years: • The “Transition and Social Issues” working group of the
Dachverband Tanz - Ständige Konferenz e.V. (Permanent conference of the umbrella association for dance), supported by the Performing
Arts Fund, initiated a study entitled The Development of Models for the Dance Transition Centre Germany, which was published in March
2008. This resulted in the initiative Stiftung TANZ – Transition Centre Germany. This initiative is described in detail below. • Private
foundations offer transition training for dancers; however, they are limited. For example, the Dell’Era foundation offers training for female
dancers who have worked for the one of the former Berliner Ballets or the current Staatsballett Berlin. Trade union Ver.di sits on the board of
this Foundation. • Another initiative had already been set up in 2005-2006, entitled Transition in Dance (TID)10. TID offers personal advice,
practical information, social and psychological support for dancers seeking professional transition. TID also runs awareness raising
campaigns amongst professionals, including through public information events and proposes workshops on professional transition. Former
dancers run the initiative. No information is publicly available as to the qualifying criteria, the funding mechanisms and the success rate.
231 SPECIFIC QUESTIONS - Dancers
82: Do you have example(s) of good practice regarding dancers in your country?
Did not answer the question / answered “no”: Australia – MEAA; Argentina – AAA; Austria – GdG-KMSfB; Azerbaijan – CWU;
Brazil – SATED/MG; Cameroon – SCAS; Colombia – CICA; Czech Republic - HA; Denmark – DAF; Denmark – DSF; Ecuador –
FENARPE; Georgia – ICSTEU; Hungary – SDS; Kazakhstan – CWU; Kyrgyzstan – CWU; Madagascar – AATM; Moldova – SICRM;
Morocco – SMPT; New Zealand – Equity NZ; Norway – NoDa; Peru – SAIP; Portugal –STE; Romania – FAIR-MediaSind; Slovenia –
GLOSA; South Africa – SAGA; Sweden – TF; Switzerland – SSRS; Turkey – AUT
Do no represent dancers: Belarus – BSAG; Brazil – SATED-RJ; ACTRA; Chile – SIDARTE; Estonia – ENLIIT; Finland – FNL; Ireland
– SIPTU / IE; Greece – SEI; Japan – JAU; Nepal – FAAN; Norway – NSF; Panama – UNAP; Paraguay – CEPATE; Poland – ZZAP;
Turkey – CASOD; Uruguay - SUA
Oui, dans le ballet de Flandres il y a un accord pour une prime après 10 ans de travail
Brazil – SATED/ES
Si, hay muchas escuelas de formación
Canada – CAEA
Yes, see the termination and retirement clauses from National Ballet agreement in my email
France – SFA
Études spécifiques de la médecine du travail, le Fonds de professionnalisation et de solidarité dispose de mesures et de financements
spécifiques pour la reconversion des danseurs, le Centre national de la danse est un centre ressource à tout point de vue pour les
danseurs, l'AFDAS offre également des services spécifiques pour les danseurs en matière de formation et de reconversion.
Germany – GDBA
The German Theatrical Pension Fund (Versorgungsanstalt der deutschen Bühnen) in the Bavarian Chamber For Social Benefits And
Pensions as described above is an exceptional example. There is also the Stiftung TANZ - Transition Centre Germany. This is an initiative of
the BBTK (Bundesdeutsche Ballett- und Tanztheaterdirektorenkonferenz) and the AG Transition und soziale Aspekte of the Ständige
Konferenz Tanz e.V. (now Dachverband Tanz e.V.). It was founded in January 2010 with all important dance associations, unions and
employers’ organisations in the board. The Stiftung TANZ – Transition Centre Germany became operational in August 2010, supported in
the first year by Tanzplan Deutschland 11, a 5-year project of the German Federal Cultural Foundation (2005-2010; budget €12.5 million). Its
goal is to provide dance in Germany with more recognition and establish it as an art form of equal value along with opera and theatre in the
public perception and in the perception of those responsible for cultural policy. The Federal Commissioner for Culture and the Media is
providing follow-up financial support in 2011.
Greece – SEI
No, it is a sad story. Dance is almost never paid...
Latvia – LKDAF
Yes, the Law on earlier retirement of musicians, actors, ballet dancers, circus artists, choir-singers, working in theatres, orchestras or circus,
owned by state or local authorities
Nepal – FAAN
Yes
The scheme exists for almost 30 years now. There are numerous dancers that have all kinds of careers now (from photographer to lawyer
and helicopter pilot).
Poland – ZZAP
No data
Russia – RCWU
Yes, see Q.79 above.
Yes, there is a foundation (operating only in the French part of Switzerland) they have a lot of Money and are able to help. Our foundation
does not have that kind of Money unfortunately.
Ukraine – CWUU
Yes, see Q.79 above.
UK – Equity
Yes, as above.
USA – AEA
Yes, our contracts address issues specific to dancers, especially in the areas of health and safety.
232 SPECIFIC QUESTIONS - Circus Performers
83. What specific issues face circus performers compared to other performers?
Did not answer the question: Azerbaijan – CWU; Belgium – ACOD Cultuur; Turkey – AUT
Do not represent circus performers: Belarus – BSAG; Cameroon – SCAS; Canada – CAEA; Czech Republic – HA; Denmark – DSF;
Estonia – ENLIIT; Finland – FNL; Germany – GDBA; Hungary – SDS; Ireland – SIPTU / IE; Japan – JAU; Madagascar – AATM;
Netherlands – FNV KEIM; Norway – NSF; Norway – NoDa; Slovenia –GLOSA; South Africa – SAGA; Switzerland – SBKV;
Switzerland – SSRS; Turkey – CASOD; USA - AEA
Argentina – AAA
La falta de encuadramiento Convencional
Australia – MEAA
Safety standards and pay / conditions in employment circumstances that are freelance / ad hoc and largely unregulated
In Austria they are not recognized as performing artists- this is an unsolved problem in Austria
Brazil – SATED/ES
TODOS
Brazil – SATED/MG
Son artistas sin mucho entendimiento de que su actividad es un trabajo. Los circos tradicionales son administrados por familias que a veces
se quedan en dificultades hasta para educar y alimentar sus hijos. En Brasil, todos los animales fueran sacados de los circos y muchas
familias se quedaran en una situación difícil . No hay en las ciudades una estructura de recepción de circos, las licencias no son unificadas.
El sindicato a través de su directora de circo está logrando muchos avances por medio de un trabajo de concientización de los circenses.
Brazil – SATED/RJ
La área de circo esta en franco declive en Brasil. Las familias tradicionales de circo están desapareciendo y ahora lo que interesa a la gente
es circo como el Circo del Sol pero, como los billetes son caros para los brasileños, no esta teniendo gran publico.
Canada – ACTRA
Health and Safety
Chile – SIDARTE
Problemas con la jornada laboral sobre todo en los intensos de Circo
Colombia – CICA
Es un segmento minoritario que va en aumento.
Denmark – DAF
Venues are often too small and not fitted for this type of performances. Outdoor performances require multiple and different approvals from
various authorities.
Ecuador – FENARPE
Falta de apoyo gubernamental
France – SFA
Les mêmes que les danseurs. En plus les entreprises dans lesquelles ils travaillent sont moins que les autres sensibilisés au droit du travail.
Georgia – ICSTEU
The Georgian Circus has been closed down for over 15 years.
Greece – SEI
There are no Greek circus productions.
Kazakhstan – CWU
Inadequate funding.
Kyrgyzstan – CWU
The circus sector is particularly hard hit by inadequate funding.
Latvia – LKDAF
No comment
Moldova – SICRM
The only dedicated circus building in Moldova was found unsafe for performing more than 10 years ago, and no performances have been
held there since then.
233 Morocco – SMPT
La nature de leur travail et la non stabilité
Nepal – FAAN
Security
There are very few circus performers in New Zealand
Panama – UNAP
Su estabilidad y seguridad
Paraguay – CEPATE
No hay escuelas ni espacios para el circo y por lo tanto, enfrentan muchos problemas
Peru – SAIP
Los artistas de circo no tienen escuela, se forman en los mismos circos, los interpretes si tienen escuelas, institutos, etc.
Poland – ZZAP
No data
Portugal – STE
Lack of space to accommodate the caravans, the animals and the cure of a circus when the working season stops. Lack of specific
legislation. Education problems.
No information
Russia – RCWU
Extra risks in terms of occupational safety.
Sweden – TF
Must go abroad for job
Ukraine – CWUU
Extra risks in terms of occupational safety.
UK – Equity
Overseas companies and performers working in the UK, a threatened ban on the use of animals in circus, entertainment licencing which the
union has campaigned to reform for circuses.
Uruguay – SUA
El se encuentra en una etapa reciente de resurgimiento y organizacion
234 SPECIFIC QUESTIONS – Circus Performers
84. Does your union/organization have specific agreements and services for circus performers?
Did not answer the question: Kyrgyzstan – CWU; Belgium – ACOD Cultuur; Moldova – SICRM; Switzerland – SSRS
Do not represent circus performer: Belarus – BSAG; Cameroon – SACS; Canada – CAEA; Czech Republic – HA; Denmark – DSF;
Estonia – ENLIIT; Finland – FNL; Georgia – ICSTEU; Germany – GDBA; Hungary – SDS; Ireland – SIPTU / IE; Japan – JAU; Greece
– SEI; Madagascar – AATM; Netherlands – FNV KEIM; Norway NSF; Norway – NoDa; South Africa – SAGA; Turkey – CASOD; USA
– AEA
Organisation
Argentina – AAA
Australia – MEAA
Yes
X
Azerbaijan – CWU
Brazil – SATED/ES
Brazil – SATED/MG
Brazil – SATED/RJ
X
X
Ecuador – FENARPE
Greece – SEI
France – SFA
Kazakhstan – CWU
X
X
Pursuit of Award or agreement conditions. Training / PD opportunities provided by the
Equity Foundation. Pursuit of safety codes. Pursuit of remedy where contract conditions
are breached.
We do not have agreements but we give them legal support and advice and we demand
the recognition of Circus artists as performing artists in Austria by all responsible
authorities, the Circus and variety artists are organized in our union
X
X
Slovenia – GLOSA
Sweden – TF
Turkey – AUT
Ukraine – CWUU
UK – Equity
Uruguay – SUA
Specify
X
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Denmark – DAF
Latvia – LKDAF
Morocco – SMPT
Nepal – FAAN
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Russia – RCWU
No
X
Estamos en vías de firmar un acuerdo específico para el circo.
En general históricamente los artistas de circo era los dueños o sea familias eran las
dueñas de los circos.
X
X
X
We offer courses and individual counselling regarding PR and funding. We provide a
site and database specifically to make it possible to find and recruit circus performers.
En proceso
X
We cannot say that we have been providing specific services for circus performers but
they are covered by local collective agreements that have been negotiated with the
management of the Kazakhstani circuses.
The same services
X
X
X
X
X
X
X
X
X
X
X
A nationwide collective agreement for 2014-2016 has been negotiated with the
management of the Russian State Circus Company.
X
X
X
X
X
X
Collective agreements with the management of individual circuses.
Yes and circus performers can join Equity and benefit from the services we offer.
X
235 SPECIFIC QUESTIONS – Circus Performers
85. Are there any collective agreements that are relevant for circus performers?
Did not answer the question: Belgium – ACOD Cultuur; Moldova – SICRM
Do not represent circus performers: Belarus – BSAG; Cameroon – SCAS; Czech Republic – HA; Denmark – DSF; Estonia – ENLIIT;
Finland – FNL; Georgia – ICSTEU; Germany – GDBA; Greece – SEI; Hungary – SDS; Ireland – SIPTU / IE; Japan – JAU; Madagascar
– AATM; Netherlands – FNV KEIM; Norway – NSF; Norway – NoDa; South Africa – SAGA; Turkey – CASOD; USA – AEA
Organisation
Argentina – AAA
Australia – MEAA
Yes
X
Azerbaijan – CWU
Brazil – SATED/ES
Brazil – SATED/MG
Brazil – SATED/RJ
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Denmark – DAF
Ecuador – FENARPE
France – SFA
Greece – SEI
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Morocco – SMPT
Nepal – FAAN
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Russia – RCWU
Slovenia – GLOSA
Sweden – TF
Turkey – AUT
Ukraine – CWUU
UK – Equity
Uruguay – SUA
No
X
X
Specify
Performers collective agreement could apply in a number of contexts for circus
performers. The Live Performance Award provides base minimum conditions that
should apply for performers.
No there is no collective agreements, we do not have big Circus companies, therefore
not a really negotiation partner for collective agreements
X
X
X
X
Específicamente todavía no
Canadian Equity for live shows. ACTRA would cover recorded performance
X
X
X
En proceso
Mais elles sont à améliorer
X
X
See Q.84 above
A local collective agreement has been negotiated with the management of the Bishkek
circus.
X
X
X
X
X
X
X
X
Le única protección es la ley del artista.
No data
X
X
X
See Q.84 above
X
X
Collective agreement for private theatres
Not that I know of
Ours
X
X
X
X
See Q.84 above.
The Act As Known contract and other arrangements the union has either with the
Variety and Light Entertainment Council and/or the Circus proprietors’ organisation.
X
236 SPECIFIC QUESTIONS - Circus Performers
86. Do you have example(s) of good practice regarding circus performers in your country?
Did not answer the question / answered “no”: Australia – MEAA; Austria – GdG-KMSfB; Azerbaijan – CWU; Brazil – SATED/RJ;
Denmark – DAF; Ecuador – FENARPE; Greece – SEI; Kazakhstan – CWU; Kyrgyzstan – CWU; Latvia – LKDAF; Moldova – SICRM;
Morocco – SMPT; New Zealand – Equity NZ; Paraguay – CEPATE; Switzerland – SSRS; Portugal – STE; Turkey – AUT;
Do not represent circus performers: Argentina – AAA; Belarus – BSAG; Belgium – ACOD Cultuur; Cameroon – SCAS; Canada –
CAEA; Canada – ACTRA; Chile – SIDARTE; Colombia – CICA; Czech Republic – HA; Denmark – DSF; Estonia – ENLIIT; Finland –
FNL; Georgia – ICSTEU; Germany – GDBA; Greece – SEI; Hungary – SDS; Ireland – SIPTU / IE; Japan – JAU; Madagascar – AATM;
Netherlands – FNV KIEM; Nepal – FAAN; Norway – NSF; Norway – NoDa; Panama – UNAP; Peru – SAIP; Romania – FAIRMediaSind; Slovenia – GLOSA; South Africa – SAGA: Sweden – TF; Switzerland – SBKV; Turkey – CASOD; USA – AEA; Uruguay –
SUA
Brazil – SATED/ES
Todos trabajan en familia
Brazil – SATED/MG
La mejor práctica son los esfuerzos diarios a favor del circo
France – SFA
Un rapport spécifique a été fait par le CMB et il y a plusieurs années par le Conseil économique et social (CESE)
Poland – ZZAP
No data
Russia – RCWU
A pension scheme similar to the one described under Q.79. Depending on their specialization, circus performers are required to have
worked on stage for 15-20 years in order to qualify for a pension. See also Q.91 and seq.
Ukraine – CWUU
A pension scheme similar to the one described under Q.79. Depending on their specialization, circus performers are required to have worked on stage for
20 or 25 years in order to qualify for a pension.
UK – Equity
Yes, if you require details I will put you in touch with our Variety Organiser.
237 SPECIFIC QUESTIONS – Opera Singers
Q87: Do opera singers face specific issues compared to other performers?
Did not answer the question: Kyrgyzstan – CWU; Switzerland – SSRS
Do not represent opera singers: Argentina – AAA; Belarus – BSAG; Brazil – SATED/RJ; Canada – ACTRA; Chile – SIDARTE;
Colombia – CICA; Czech Republic – HA; Denmark – DAF; Finland – FNL; Ireland – SIPTU / IE; Norway – NSF; Norway – NoDa;
Paraguay – CEPATE; South Africa – SAGA; Turkey – CASOD; Uruguay – SUA; USA – AEA
Organisation
Australia – MEAA
Azerbaijan – CWU
Belgium – ACOD Cutluur
Brazil – SATED/ES
Brazil – SATED/MG
Cameroon – SCAS
Canada – CAEA
Soloists
Yes
No
X
Choirs
Yes
No
X
X
X
X
X
X
X
France – SFA
X
Georgia - ICSTEU
Germany – GDBA
X
X
The need (and cost) of on going training and coaching when one is an
independent contractor is a challenge. There are far fewer work opportunities
than for actors but a much higher level of training that must always be
sharpened. Increasingly, there is a demand for opera singers to have both a
university degree and significant private coaching with recognized teachers.
There is little recognition (financial or otherwise) that a soloist might have
spent a year preparing for a particular role.
X
They are free to work all over the EU, inversely drama actors (who are tied
up with the language).
Les artistes solistes ont de plus en plus difficultés pour trouver du travail et
les artistes des chœurs sont souvent remplacés par des amateurs
bénévoles.
X
X
X
X
X
Soloists work more often on an international basis if they are not under a
permanent contract in a public theatre. Opera choir singers enjoy regulations
of social protections within our collective agreement.
Soloists and Choirs have their respective Unions in Greece.
X
X
X
X
X
There are many opera companies which charge “fee for participating in
production”
X
X
X
X
X
X
X
X
X
X
Pas d'activité d'opéra au Maroc
X
X
Panama – UNAP
Peru – SAIP
Poland - ZZAP
Portugal – STE
Russia – RCWU
X
El trabajo es tan instable cuanto los demás
X
Kazakhstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Slovenia – GLOSA
Sweden – TF
Turkey – AUT
Ukraine – CWUU
UK - Equity
X
X
X
X
X
X
Greece – SEI
Hungary – SDS
Japan – JAU
Souvent des contrats comme indépendant
X
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Specify
Rise in number of imported artists limiting access to roles for local principal
artists. Pursuit of condition stripping by the national flagship company.
Reduction in chorus sizes presents threat to career and health / safety.
The Opera choir of the Dutch National Opera does have a few specific
arrangements that are 'under attack'. Has to do with working hours, repetition
hours at home, special arrangement for dental care and prostheses.
Again, we have only just become inclusive of Opera performers. There are
no specific provisions.
Su presentaciones
Hay muy poca actividad en este sector.
No data
X
X
X
X
X
X
X
X
X
Soloists require the specialized services of phoniatricians, which involves
setting up phoniatric consulting rooms in opera houses.
X
X
The loudness, They cannot work the same amount of hours (voice reasons)
X
X
X
X
X
A lack of good employment, precarious work for most opera singers.
238 SPECIFIC QUESTIONS - Opera Singers
88. In your country, what different kinds of employment relationship do soloists enjoy? Choirs?
Did not answer the question: Azerbaijan - CWU; Brazil – SATED/ES; Brazil – SATED/RJ; Cameroon – SCAS; Estonia – ENLIIT;
Netherlands – FNV KIEM; Slovenia – GLOSA; Switzerland – SSRS
Do not represent opera singers: Argentina – AAA; Belarus – BSAG; Canada – ACTRA; Chile – SIDARTE; Colombia – CICA; Czech
Republic – HA; Denmark – DAF; Finland – FNL; Ireland – SIPTU / IE; Japan – JAU; Madagascar – AATM; Morocco – SMPT; Norway
– NSF; Norway – NoDa; Paraguay – CEPATE; South Africa – SAGA; Turkey – CASOD; Uruguay – SUA; USA – AEA
Australia – MEAA
Engagement under terms of a collective agreement.
Employment status, freelance status
Non
Brazil – SATED/MG
Son contratos temporarios, no hay relación de empleo
Canada – CAEA
All opera singers in Canada are engaged on a production-by-production basis, with no guarantees beyond the current season. Choristers
may be engaged for multiple productions in the same season.
Denmark – DSF
They are usually on long-term contracts or much abroad
Ecuador – FENARPE
Solistas
France –SFA
Comme tous les artistes interprètes ils sont salariés. Les artistes des chœurs sont plus souvent embauchés sous contrats à durée
indéterminée.
Georgia – ICSTEU
Fixed-term employed contracts
Germany – GDBA
Opera soloists work in the following kinds of employment:
- Under our collective agreement NV Bühne, which is a contract where you work fulltime in a public repertoire-theatre for at least one year as
an employee. The contract gets each year automatically a prolongation of another year until the artists or the employer give a written notice
that the contract will not be prolonged at the end of the season.
- As employees under guest-contracts which cover a certain part of the season or one specific production (employment for the full rehearsalperiod and then employment for each performance-day throughout the season or employment from first rehearsal-day through to the last
performance-day) in a public repertoire-theatre.
- As self-employed persons for only a small amount of rehearsal- and performance-days in a public repertoire-theatre.
- In off-theatre and in concerts mainly as self-employed persons.
- Very often the self-employed status is not conforming to the legal regulations.
- Opera soloists have to be mobile and the compatibility of work-life and family-life is rather hard.
- Opera-soloists are in danger of having a very low retirement pension because of their inconstant working situation.
- When they are self-employed the danger of having no insurance against work-accidents is rather high.
Choir singers work in the following kinds of employment:
- Mostly under our collective agreement NV Bühne, which is a contract where you work fulltime in a public repertoire-theatre. Choir singers
have contracts, which include social-protection terms. Thus choir singers have usually a safe and long lasting tenure.
- Also many public radio-stations have fully employed choir-ensembles (contracts not negotiated by the GDBA).
- Seldom choir singer’s work under guest-contracts.
Greece – SEI
We do not have data on these areas.
Hungary – SDS
Most of the soloists are self-employed, the choirs are employees or have work contract.
Kyrgyzstan – CWU
Permanent employed contracts, in accordance with the Labour Code.
Kazakhstan – CWU
239 Employed contracts, in accordance with the Labour Code.
Latvia – LKDAF
Long-term labour contracts
Moldova – SICRM
Their employment relationship is in keeping with the Labour Code of the Republic of Moldova, as well as with the sectorial and local
collective agreements that our Union has negotiated.
Nepal – FAAN
Not specific
Individual contracts
Panama – UNAP
Solo en sus representaciones se les da una estabilidad
Peru – SAIP
Los que manda la ley.
Poland – ZZAP
No data
Portugal – STE
Choirs – none
No different
Russia – RCWU
Choir singers tend to be employed on permanent or term employed contracts. Some soloists are known to negotiate services/self-employed
contracts, while others stick to employed contracts, similar to choir singers.
Sweden – TF
Paid per performance, or seasonal contracts
Constant employment on seasonal contracts Solo and Choirs
Employment production wise Solo and Choirs
Turkey – AUT
Only one type. Public opera soloists.
Ukraine – CWUU
Choir singers tend to be employed on permanent or term employed contracts. Some soloists are known to negotiate services/self-employed
contracts, while others stick to employed contracts, similar to choir singers.
UK – Equity
Soloists will likely be self-employed. Permanent employment is offered to some singers i.e. members of a permanent choir or chorus.
Different employment relationships characterise the sector.
240 SPECIFIC QUESTIONS – Opera Singers
89. Are there any collective agreements that are relevant for opera soloists? Choir singers?
Did not answer the question: Brazil – SATED/RJ; Switzerland – SSRS
Do not represent opera singers: Argentina – AAA; Belarus – BAGK; Canada – ACTRA; Chile – SIDARTE; Colombia – CICA; Czech
Republic – HA; Denmark – DAF; Finland – FNL; Ireland – SIPTU / IE; Madagascar – AATM; Norway – NSF; Norway – NoDa;
Paraguay – CEPATE; South Africa – SAGA; Turkey – CASOD; Uruguay – SUA; USA – AEA
Organisation
Australia – MEAA
Azerbaijan - CWU
Brazil – SATED/ES
Brazil – SATED/MG
Cameroon – SCAS
Canada – CAEA
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
France – SFA
Georgia – ICSTEU
Germany – GDBA
Soloists
Yes
No
X
X
Choirs
Yes
No
X
X
X
X
X
X
X
X
X
X
X
X
Pour les chœurs
Hay poquísimos
We have collective agreements with the Canadian Opera Company, the
Vancouver Opera Company and a group of 6 regional opera companies.
X
X
X
X
X
X
X
X
Collective agreements with the National Opera
Ils sont également couverts comme les danseurs et les circassiens par des
clauses spécifiques dans les conventions collectives nationales. Ils
peuvent également bénéficier d’accords d’entreprises supérieurs à la CCN.
X
X
Greece – SEI
Hungary – SDS
Japan – JAU
X
Kazakhstan – CWU
X
X
Kyrgyzstan – CWU
X
X
Latvia – LKDAF
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Panama – UNAP
X
Specify
Opera Australia Agreement and Performers Collective Agreement for
state-based companies.
All big theatres have collective agreements regulations for choir singers
and opera soloists- see the answers in to the collective Agreements at the
beginning of the questionnaire
X
X
X
X
X
Large public subsidised opera houses have collective agreement for choir
singers.
The national agreement negotiated with the Ministry of Culture and Sports,
as well as the local agreement negotiated with the management of the
opera and ballet theatres cover opera soloists and choir singers, as well as
the rest of the company staff.
The national agreement negotiated with the Ministry of Culture and the
local agreement negotiated with the management of the National Opera
and Ballet Theatre cover opera soloists and choir singers, as well as the
rest of the company staff.
No comment
X
X
X
X
X
X
X
X
X
The relevant collective agreement for opera soloists and choir singers is
the NV Bühne. It is negotiated by the GDBA and the VdO on the employee
side and the Deutscher Bühnenverein on the employers side. Under our
collective agreement NV Bühne, which is a contract where you work
fulltime in a public repertoire-theatre for at least one year as an employee.
The contract gets each year automatically a prolongation of another year
until the artists or the employer give a written notice that the contract will
not be prolonged at the end of the season. For soloists there is only a
minimum-wage set of 1.650 Euro with the possibility to negotiate any
amount above that. Choir singers in Germany work mostly under our
collective agreement NV Bühne, which is a contract where you work
fulltime in a public repertoire-theatre. Choir singers have contracts, which
include social-protection terms. Thus choir singers have usually a safe and
long lasting tenure. For choir singers the NV Bühne offers wage-lists. The
lowest wage starts at 2.348 Euro and the highest lies above 3.162 Euro.
The wage-classification depends on the size of the theatre. There are also
regulations for extra payments depending on how long they work at the
theatre. The regulations for rehearsal times and free days for choir singers
are different from the soloists. They are stricter. There are also regulations
for special payments for certain requirements like singing in a foreign
language or in concerts.
There have been collective agreements, but now they are abolished.
Collective labour agreement for The Dutch National Opera
X
X
241 Peru – SAIP
Poland – ZZAP
Portugal – STE
Russia – RCWU
X
Slovenia – GLOSA
Sweden – TF
X
X
Turkey – AUT
Ukraine – CWUU
X
X
UK – Equity
X
X
X
X
X
X
X
X
No data
X
X
Collective agreements negotiated in opera houses and musical theatres,
such as the Bolshoi or the Moscow Stanislavsky Musical Theatre, contain
terms and conditions that are specific to opera singers (soloists and
choirs).
X
X
X
Soloists - the same collective Agreement for Singers, Dancers and Actors
Choirs and Corps de B. a separate collective agreement.
X
Collective agreements negotiated in opera houses and musical theatres
contain terms and conditions that are specific to opera singers (soloists
and choirs).
We have agreements with the ROH, ENO, Opera North, Glyndebourne.
We also have an agreement with UK Theatre for guide Artists and Opera
Singers.
242 SPECIFIC QUESTIONS - Opera Singers
90. Do you have example(s) of good practice regarding opera singers in your country?
Do not represent opera singers: Argentina – AAA; Belarus – GBAK; Canada – ACTRA; Chile – SIDARTE; Colombia – CICA; Czech
Republic – HA; Denmark – DAF; Finland – FNL; Ireland – SIPTU / IE; Japan – JAU; Latvia – LKDAF; Madagascar – AATM; Norway –
NSF; Norway – NoDa; Nepal – FAAN; Paraguay – CEPATE; Panama – UNAP; South Africa – SAGA; Sweden – TF; Turkey – CASOD;
Uruguay – SUA; USA – AEA
Did not answer the question / answered “no”: Australia – MEAA; Austria – GdG-KMSfB; Belgium – ACOD Cultuur; Brazil –
SATED/MG; Brazil – SATED/RJ; Cameroon – SACS; Canada – CAEA; Denmark – DSF; Estonia – ENLIIT; Greece – SEI; Hungary –
SDS; Kazakhstan – CWU; Moldova – SICRM; Morocco – SMPT; New Zealand – Equity NZ; Peru – SAIP; Portugal – STE; Romania –
FAIR-MediaSind; Slovenia – GLOSA; Switzerland – SBKV; Switzerland – SSRS; Turkey – AUT
Azerbaijan – CWU
Yes
Brazil – SATED/ES
Si
Ecuador – FENARPE
France – SFA
Non, une enquête sur l’emploi des artistes solistes est cependant en cours par les services d’inspection du Ministère de la culture suite à
une lutte menée par le SFA. Nous attendons de ce rapport la mise en place de mesures permettant de développer l’emploi pour ces artistes.
Georgia – ICSTEU
Yes
Germany – GDBA
We see the best way of protecting the employment of singers in having as many of them in a long-term employment under our collective
agreement.
Kyrgyzstan – CWU
Yes, a pension scheme for singers similar to the one covering ballet dancers and providing for the payment of a pension to singers who
have worked on stage a certain number of years.
Repetition hours at home, special arrangement for dental care and prostheses
Poland – ZZAP
No data
Russia – RCWU
Yes, a pension scheme for singers similar to the one covering ballet dancers and circus artists provides for the payment of a pension to
singers who have worked on stage a certain number of years (20 for female soloists, 25 for male soloists, 30 for choir singers).
Ukraine – CWUU
Yes, a pension scheme for singers similar to the one covering ballet dancers and circus artists provides for the payment of a pension to
singers who have worked on stage a certain number of years (20 for female soloists, 25 for male soloists, 30 for choir singers).
UK – Equity
Yes, the ROH company is well organised and we have negotiated contractual facilities time for our chorus representative.
243 SPECIFIC QUESTIONS – Child Performers
91. Are there any provisions relating to the work of child performers in the laws of your country?
Did not answer the question: Ireland – SIPTU / IE; Norway – NoDa; Switzerland – SSRS
Organisation
Argentina – AAA
Yes
X
Australia – MEAA
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
X
X
X
X
X
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
X
Canada – ACTRA
X
Chile – SIDARTE
Colombia – CICA
X
X
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
X
X
X
X
Georgia – ICSTEU
Germany – GDBA
No
Specify
Cada jurisdicción tiene la limitación específica en cuanto a horarios y protección de
horario escolar y permiso de los padres. Nuestros convenios también. Nuestro sindicato
ejerce el control de cumplimiento de esas normas
Covered under state legislation.
The Austrian Jugendschutzgesetz and regulations of the federal countries
X
X
En Brasil, la Constitución prohíbe cualquier tipo de trabajo para los menores de 16 años
(excepto a partir de 14 años como aprendices). Obra de arte sólo se podrá hacer con
orden judicial, actualmente otorgado por los jueces de los tribunales de la niñez y la
juventud.
X
X
Yes and no. Various provinces have either legislation or health and safety guidelines
specific to child performers but the law in general does not allow children under the age of
14 to work at all and under the age of 16, they may not work during normal school hours.
As well as specific strong language in the IPA and NCA there is national and in some
cases provincial labour legislation
Suscribe a los convenios de la OITl
Es lo que dispone el Ministerio de trabajo con relación a todos los niños en cuanto a
horarios, trato, tipo de libretoso guiones. Solo hay una compañía de espectáculos en vivo
que tiene niños y cumplen con toda la normatividad.
Probably yes
Children can work in the entertainment industry without any rights!!
X
X
X
La loi impose des horaires et une durée du travail spécifique. Il existe une commission
comprenant des représentants de la profession et des représentants des services sociaux
à laquelle doit être soumise tout demande pour des enfants de moins de 16 ans. Dans le
spectacle vivant un enfant ne peut enchainer deux soirées consécutives et un système
d’alternance doit être mis en place. 80% du salaire doit être versé sur un compte
spécifique auquel l’enfant aura accès à sa majorité.
X
X
In the Federal Republic of Germany there is a youth employment law, which can be
described by international standards as exemplary. Labour protection for children and
young people is more important than job protection for adults. Because children and
adolescents are less resistant than adult humans and therefore cannot be subjected to the
same stresses. These are the regulations for events of the law to protect working youth: §
6 Regulatory exceptions for events (1) The supervisory authority may approve the request
that 1. In theatre children over six years up to four hours a day in the period 10-23 oćlock,
2. With musical performances and other performances, advertising and promotion, as well
as when shooting in broadcasting (radio and television), on sound and image carriers, as
well as for film and photo shoots a) Children over three to six years up to two hours a day
in the period 8-17 oćlock b) up to three hours a day involved children over six years in the
period 8-22 oćlock creatively cooperate and participate in the required sample. An
exception shall not be granted for participation in cabarets, dance halls and similar
establishments as well as amusement parks, fairs, carnivals and similar events,
exhibitions or performances. (2) The supervisory authority may only approve the
employment after consultation of the youth office if 1. The legal guardians have consented
in writing to the employment, 2. The supervisory authority shall be submitted to a no more
than three months ago issued medical certificate saying that there are no health-concerns
regarding the employment, 3. The necessary precautions and measures are taken to
protect the child from danger to life and health and to prevent impairment of physical or
psycho-spiritual development, 4. Care and supervision of the child are ensured in the
employment, 5. After termination of employment an uninterrupted leisure is observed for
at least 14 hours, 6. The progress in school is not affected. (3) The supervisor determines
1. How long, at what time and on what day the child shall be employed, 2. Duration and
location of breaks, 3. The maximum duration of daily stay at the employment site (4) The
decision of the Authority shall be notified to the employer in writing. He may employ the
child only after receiving the approval notification.
244 Greece – SEI
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
X
X
X
X
X
X
X
Working in the evening
They are contained in the Labour Code.
They are contained in the Labour Code.
No comment
Exigence d’un accord parental
X
X
Quelques motions au nivaux de la législation de travail et dans le statut d’artiste
X
X
There are rules for children under 7, between 7 and 13 and 13 and older. See:
http://www.fnv-kiem.nl/files/contents/Werktijden%20minderjarigen_kunstkinderen.pdf
Employment law covers children in all work places. We have provision in our own basic
suggested agreements
Specific regulation in the labour environment legislation.
Norway – NSF
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
X
X
X
X
X
Russia – RCWU
X
Slovenia – GLSOA
X
X
Sweden – TF
Turkey – AUT
Turkey – CASOD
Ukraine – CWUU
X
They are contained in the Russian Labour Code (Source for the English translation below:
http://www.ilo.org/dyn/natlex/docs/WEBTEXT/60535/65252/E01RUS01.htm).
CHAPTER 11. CONCLUSION OF THE LABOR CONTRACT
Article 63. Age at which conclusion of the labor contract is permitted
It shall be permitted to conclude labor contract with persons attaining the age of sixteen.
In cases of completing the basic general education or leaving the general educational
establishment in accordance with the federal law, persons shall be entitled to conclude
labor contracts at attaining the age of fifteen.
With consent of one parent (guardian, custodian) and a patronage body a labor contract
can be concluded with a student attaining the age of fourteen for performing light work out
of school hours which shall not be harmful to his/her health and not detrimental to the
study process.
In movie industry organizations, theaters, theatrical and concert organizations, circuses it
shall be permitted, with consent of one parent (guardian, custodian) and a patronage
body, to conclude labor contracts with persons under the age of fourteen for participating
in creation and/or performance of art works without any harm to their health and moral
development. Special protection by several regulations (minimum age, payment etc.).
There is a sectorial determination within our child labour legislation on the number of
hours and condition of work for child performers
X
X
Working hours
X
X
X
UK – Equity
USA – AEA
X
X
Uruguay – SUA
X
Están especificadas en la ley, si no que nos se cumplen.
No data
Medical authorization; Studies; Different maximum hours per day/week regarding the age;
limited timetable; Union, Employers organizations and official authorities approval.
Under general provisions of child labour.
The Labour Code contains general provisions regulating the employment of minors (aged
at least 14).
They are extremely complex and are currently being consulted upon.
The laws are extensive and vary from state to state, as well as the Federal regulations. They cover
hours, working conditions, and educational requirements, among other areas. In both New York and
California, there are trust fund requirements in place for earnings by child performers.
No se cumple
92. Does your union have specific agreements concerning the work of children in live performance?
Did not answer the question: Ireland – SIPTU / IE; Norway – NoDA; Switzerland – SSRS
Organisation
Argentina – AAA
Australia – MEAA
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
Yes
X
No
X
X
X
X
X
X
X
Los productores de elenco y los productores audiovisuales / estudios fotográficos /
agencias de publicidad deben esforzarse para minimizar el desgaste de los niños y
adolescentes en los ensayos y el rodaje de películas / foto, adoptando, al efecto,
procedimientos especiales.
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
X
X
X
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Denmark – DAF
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
X
X
X
X
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NSF
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
Poland – ZZAP
Portugal – STE
Russia – RCWU
Slovenia – GLOSA
Sweden – TF
Turkey – AUT
Turkey – CASDOS
Specify
La limitación esta contenida en el Convenio –Colectivo de Trabajo. El contro y denuncia a
Ministerio de Trabajo por cualquier vulneración a la Ley l está a cargo de nuestro
sindicato.
Yes, in the sense of variation to a handful of conditions for juvenile performers under
collective agreements.
There are no separate agreements for children but the Canadian Theatre Agreement has
specific provisions governing the engagement of children in theatre. The ballet
agreements provide for the engagement of children associated with the companies (ex:
children studying at their associated schools).
X
X
X
X
X
X
Ils garantissent dans les conventions collectives que les enfants bénéficient des mêmes
rémunérations que les adultes.
X
X
X
X
X
X
X
X
X
Accord parental obligatoire par écrit
X
X
X
X
X
X
X
X
X
No data
X
X
X
Regulations governing the employment of minors in the circus as apprentices/trainees
have been negotiated and adopted by the RCWU and the management of the Russian
State Circus Company as part of the collective bargaining process. Pursuant to the Labour
Code, these ensure that the parents and child welfare agencies play their statutory role,
and that the child performer’s rights and interests are guaranteed and protected.
X
X
This forms part of the contracts that are used in all performance areas
X
X
X
A draft regulation as an annex to law is prepared for child actors.
X
UK – Equity
X
X
USA – AEA
X
Uruguay – SUA
X
Under our West End Agreement child performers are paid 50% of the adult rate but we
are in the process of seeking to negotiate it to the full adult rate.
While our agreements will have rules within the body of the contract specific to children,
they fall under the same overall contract terms as adults.
93. Do you face specific issues relating to child performers in the sector?
Did not answer the question: Australia – MEAA; Denmark – DAF; Ireland – SIPTU / IE; Norway – NoDa; Switzerland – SSRS
Organisation
Argentina – AAA
Azerbaijan – CWU
Belarus – BSAG
Brazil – SATED/ES
Brazil – SATED/MG
Yes
Brazil – SATED/RJ
Cameroon – SCAS
Canada – CAEA
Canada – ACTRA
Chile – SIDARTE
Colombia – CICA
Denmark – DSF
Ecuador – FENARPE
Estonia – ENLIIT
Finland – FNL
France – SFA
Georgia – ICSTEU
Germany – GDBA
Greece – SEI
Hungary – SDS
Japan – JAU
Kazakhstan – CWU
Kyrgyzstan – CWU
Latvia – LKDAF
Madagascar – AATM
Moldova – SICRM
Morocco – SMPT
Nepal – FAAN
Norway – NSF
Panama – UNAP
Paraguay – CEPATE
Peru – SAIP
X
Poland – ZZAP
Portugal – STE
X
X
X
See recent issue of our magazine attached in the email.
Seeking to protect working children in non union environments
X
X
Los propiciados por los padres que son quienes promueven su explotación.
X
X
X
X
X
Exist so called black market of free groups performing in the schools and kindergartens.
X
X
X
X
X
X
X
X
X
X
X
X
X
X
None that we are or have been made aware of.
None that we are or have been made aware of.
Very different level of payment and support
X
X
X
X
X
En algunos casos son explotados, en algunos casos los son citados a una hora y el
trabajo se realiza después de ocho o doce horas, en el caso del niño circense cuando
esta en temporada no va al colegio no se educa.
No data
Timetable; Number of hours a day/week depending of the age; School progress; Medical
conditions.
X
X
Turkey – CASOD
X
Specify
El juzgado de menores muchas veces no deja que los niños trabajen
Como no existe una regulación, los magistrados se basan en el Convenio 138 de la
Organización Internacional del Trabajo (OIT) dice que sólo se admitirá la participación en
representaciones artísticas con autorización judicial como una excepción a la prohibición
del trabajo antes de la edad mínima . No hay ninguna ley que establezca las condiciones
de trabajo que deben ser proporcionados y, en algunos casos, no se busca el permiso.
Algunas madres se manifiestan y sugieren que exista un apoyo psicológico a los niños y
adolescentes, y que no sean obligados a esperar demasiado tiempo para actuar. “La
idea sería organizar la producción de acuerdo con el niño, o hacer el plan de grabación
adaptado a las necesidades de los niños y sus debilidades”, “Ellos también piden una
equiparación entre los salarios, que por lo general es igual a 10% y el 30% de lo que
reciben los adultos.
X
X
Russia – RCWU
Slovenia – GLOSA
Sweden – TF
Turkey – AUT
Ukraine – CWUU
No
X
X
X
X
X
X
X
X
X
X
X
The most important problem of the child actors is being obliged to work under the same
conditions with the adult actors.
Not as much as in the audiovisual sector. But still not regulated, unless under the State –
City theatres.
X
248 UK – Equity
X
USA – AEA
Uruguay – SUA
X
X
We recruit child performers from the age of 10 but we do not have many as members and
so our collective strength to negotiate on their behalf is limited.
The employment of children adds to the work rules that must be enforced.
Dificultades en la contratación y condiciones de trabajo
249 SPECIFIC QUESTIONS - Child Performers
94. Do you have example(s) of good practice regarding child performers in your country?
Did not answer the question / answered “no”: Argentina – AAA; Australia – MEAA; Austria – GdG-KMSfB; Azerbaijan – CWU;
Belarus – BSAG; Belgium – ACOD Cultuur; Brazil – SATED/RJ; Cameroon – SCAS; Chile – SIDARTE; Czech Republic – HA;
Denmark – DAF; Ecuador – FENARPE; Estonia – ENLIIT; Finland – FNL; Georgia – ICSTEU; Germany – GDBA; Hungary – SDS;
Ireland – SIPTU / IE; Greece – SEI; Japan – JAU; Kazakhstan – CWU; Kyrgyzstan – CWU; Latvia – LKDAF; Moldova – SICRM;
Madagascar – AATM; Morocco – SMPT; Nepal – FAAN; Netherlands – FNV KIEM; New Zealand – Equity NZ; Norway - NSF; Norway
– NoDa; Panama UNAP; Paraguay – CEPATE; Peru – SAIP; Portugal – STE; Romania – FAIR-MediaSind; Slovenia – GLOSA;
Sweden –TF; Switzerland – SBKV; Switzerland – SSRS; Turkey – AUT; Turkey – CASOD; Ukraine – CWUU; UK – Equity; Uruguay –
SUA
Brazil – SATED/ES
Si, el sindicato da una autorización especial para que los niños trabajen
Brazil – SATED/MG
Si, los acuerdos específicos son muy positivos
Canada – CAEA
See clauses from the Canadian Theatre Agreement attached in the email and a copy of pending provincial legislation.
Canada – ACTRA
IPA language, currently working on new legislation in Ontario
Colombia – CICA
También hay padres que hacen cumplir con lo pactado.
Denmark – DSF
Some theatres have special babysitters
France – SFA
La commission sur le travail des enfants dans le spectacle. Les horaires aménagés à l'école des enfants du spectacle.
Poland – ZZAP
Politics are more stupid and without artistic souls...
Russia – RCWU
Yes, cf. Q.92 above.
Yes, our legislation and contract have the rights of children stipulated according to the protection of children.
USA – AEA
Yes, in general, the combination of law and our contracts ensures that child performers are treated appropriately.
250 Q95: Are there any issues that we have forgotten in this questionnaire that you think are current and important?
Did not answer the question / answered “no”: Australia – MEAA; Austria - GdG-KMSfB; Azerbaijan – CWU; Belarus – GABK;
Belgium – ACOD Cultuur; Brazil – SATED/RJ; Cameroon – SCAS; Canada – ACTRA; Colombia – CICA; Czech Republic – HA;
Denmark – DAF; Denmark – DSF; Estonia – ENLIIT; Finland – FNL; France – SFA; Georgia – ITUWCST; Germany – GDBA; Hungary
– SDS; Ireland – SIPTU / IE; Japan – JAU; Kazakhstan – CWU; Kyrgyzstan – CWU; Madagascar – AATM; Moldova – SICRM;
Morocco – SMPT; Nepal – FAAN; Norway – NSF; Norway – NoDa; Netherlands – FNV KIEM; Panama – UNAP; Paraguay – CEPAYE;
Romania – FAIR-MediaSind; Russia – RCWU; Slovenia – GLOSA; South Africa – SAGA; Sweden – TF; Switzerland – SBKV;
Switzerland – SSRS; Turkey – AUT; Turkey – CASOD; Ukraine – CWUU
Argentina – AAA
l tema de la jubilación de los actores es muy importante y sería muy bueno saber en que condiciones concretas están los sindicatos de
nuestra federación. Nuestro sindicato está impulsando una ley específica que contemple la posibilidad de que el actor se pueda jubilar.
Para eso es imprescindible que la relación de dependencia sea efectiva de una vez por todas. Los actores somos trabajadores y su
reconocimiento pleno como tales ampliará derechos sobre todo los previsionales.
Brazil – SATED/ES
Si, el ámbito de los modelos profesionales
Brazil – SATED/MG
Nuestra legislación incluye como artistas, también los modelos fotográficos y de pasarela.
Canada – CAEA
We haven't explored what membership trends are. Are young people less interested in joining the union than in the past? Is there an
increasingly large non-union sector in any particular type of work? Are the unions seeing their power erode in society and therefore with their
members?
Chile – SIDARTE
Resaltar la importancia que el sector cuente con una legislación que diseñe en sector que es altamente informal y que cuenta con muy
pocos espacio de trabajo remunerado.
En Chile sostenemos que el Teatro la danza y el circo la hemos subvencionado sus trabajadores y eso hay que cambiarlo. Si es pertinente
podemos enviar el trabajo realizado para nuestra ley sectorial.
Ecuador – FENARPE
Que se ofrezca seminarios de capacitación a los países que forman parte de la FIA.
Latvia – LKDAF
No comment
Age discrimination. This is a nation obsessed with youth. Older performers are hard to find in live performance (except when specifically
required) or in screen performance.
Peru – SAIP
El artista anciano que ya no tiene oportunidades de trabajo, prácticamente esta en el olvido.
Portugal – STE
GOOD PRACTICE - HEALTH AND SECURITY: Twenty Years ago, with the help of our Union, we built the House of The Artist, financed by
the Town Hall of Lisbon. There we have our old performers, who otherwise would stay alone in their houses, and also those who suffer from
different illnesses and would be let alone in a hospital. It was a great achievement, very difficult to obtain, but now we can consider it a Good
Practice.
UK – Equity
The economic crisis arising from the financial collapse of many banks in 2008 and the subsequent austerity measures of governments to
deal with the consequences has had a detrimental effect on the live performance industries despite the fact that for every £1 invested by
government generates at least £2 in return. On this basis the arts and cultural sector should have received more support form government
as part of a strategy to develop growth but the fact that this did not occur demonstrates the ideological nature of anti-austerity measures our
sectors have had to deal with.
Uruguay – SUA
Consideramos fundamental la intervención de organismos internacionales como la OIT y la UNESCO, en lo que refiere a las condiciones de
trabajo de los artistas.
USA – AEA
-Developing union commitment in an increasingly hostile environment
251

compilation of survey data - International Federation of Actors

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