Politico-economic interactions of German public performing arts institutions
Identifieur interne : 000709 ( Istex/Corpus ); précédent : 000708; suivant : 000710Politico-economic interactions of German public performing arts institutions
Auteurs : Susanne Krebs ; W. PommerehneSource :
- Journal of Cultural Economics [ 0885-2545 ] ; 1995-03-01.
Abstract
Abstract: Our paper analyzes the conduct of German public performing arts institutions in terms of “non-market decision making” or public choice. Apart from consumers of performing arts managers of performing arts institutions and public donors are main agents. A manager of a performing arts institution will not assume that the number of visitors is independent of his institution's programme or the ticket prices. By the same reasoning he will regard the amount of public subsidies not as exogenous, but dependent on his own policy. If future grants depend on present and past success (however defined), this will feed back into managerial decisions, along with expectations about demand. Data for the Federal Republic of Germany serve to empirically support the theoretical argument.
Url:
DOI: 10.1007/BF01074430
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<front><div type="abstract" xml:lang="en">Abstract: Our paper analyzes the conduct of German public performing arts institutions in terms of “non-market decision making” or public choice. Apart from consumers of performing arts managers of performing arts institutions and public donors are main agents. A manager of a performing arts institution will not assume that the number of visitors is independent of his institution's programme or the ticket prices. By the same reasoning he will regard the amount of public subsidies not as exogenous, but dependent on his own policy. If future grants depend on present and past success (however defined), this will feed back into managerial decisions, along with expectations about demand. Data for the Federal Republic of Germany serve to empirically support the theoretical argument.</div>
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<abstract>Abstract: Our paper analyzes the conduct of German public performing arts institutions in terms of “non-market decision making” or public choice. Apart from consumers of performing arts managers of performing arts institutions and public donors are main agents. A manager of a performing arts institution will not assume that the number of visitors is independent of his institution's programme or the ticket prices. By the same reasoning he will regard the amount of public subsidies not as exogenous, but dependent on his own policy. If future grants depend on present and past success (however defined), this will feed back into managerial decisions, along with expectations about demand. Data for the Federal Republic of Germany serve to empirically support the theoretical argument.</abstract>
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<back><listBibl><biblStruct xml:id="b0"><monogr><title level="m" type="main">In our paper the word 'theater' comprises theaters, opera houses and institutions that offer different categories of performing arts</title>
<imprint></imprint>
</monogr>
</biblStruct>
<biblStruct xml:id="b1"><analytic><title level="a" type="main">Further studies deal with theater demand in a broader context, so e.g</title>
<author><persName><forename type="first">Moore</forename>
<surname>Globerman</surname>
</persName>
</author>
<author><persName><forename type="first">Book</forename>
<surname>Kelejian</surname>
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<author><persName><forename type="first">Lawrence</forename>
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<monogr><title level="m">Throsby and Withers Withers Touchstone Lange and Luksetich Gapinski Jenkins and Austen-Smith Greckel and Felton Carson and Mobilia Oteri and Trimarchi Throsby</title>
<imprint><publisher>Felton Houthakker and Taylor</publisher>
<date type="published" when="1966"></date>
</imprint>
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<note>and. Gapinski (1984, 1988). A survey of studies on demand for opera performances is found in van Gemerden</note>
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<author><persName><forename type="first">De</forename>
<surname>Goudriaan</surname>
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<monogr><title level="m">Pommerehne and Kirchg~issner Abb6-Decarroux Bonato, Gagliardi and Gorelli Abb6-Decarroux and Grin</title>
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<biblStruct xml:id="b3"><monogr><title level="m" type="main">found a price-elasticy greater than one (in absolute values) for some subperiod of his sample. This elasticity, however, is not significantly different from -0.85. Abb6-Decarroux (1994) found an elastic demand for reduced price seats, which doesn't differ significantly from minus one at the 95% level of confidence. Felton (1992) demonstrated that elasticities can vary widely among performing arts companies</title>
<author><persName><surname>Withers</surname>
</persName>
</author>
<imprint><date type="published" when="1980"></date>
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</monogr>
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<biblStruct xml:id="b4"><analytic><title level="a" type="main">Goudriaan and de Kam</title>
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<monogr><title level="j">See Touchstone</title>
<imprint><date type="published" when="1980"></date>
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<note>See. among others Moore</note>
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<monogr><title level="m">Felton Oteri and Trimarchi Abb6- Decarroux</title>
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<biblStruct xml:id="b7"><monogr><title level="m" type="main">Evidence for the existence of 'two taste subcultures', that is, tastes of professional theater critics and the lay public</title>
<imprint><date type="published" when="1988"></date>
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<author><persName><forename type="first">Becker</forename>
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