Local view for "http://purl.org/linkedpolitics/eu/plenary/2002-10-21-Speech-1-130"

Predicate	Value (sorted: default)
rdf:type	lpv_eu:Speech2
dcterms:Date	"2002-10-21"^^xsd:date2
dcterms:Is Part Of	lp_eu:Theatre and the performing arts in an enlarged Europe2
dcterms:Language	"pt"^^xsd:language2
lpv:document identification number	"en.20021021.9.1-130"2
lpv:hasSubsequent	lp_eu:2002-10-21-Speech-1-1312
lpv:speaker	lp:Vasco Graça Moura2
lpv:spokenAs	unknown; Partido Social Democrata (1999-07-20--2004-07-19)3 vice-chair; Committee on Culture, Youth, Education, the Media and Sport (2002-01-22--2004-07-19)3 member; EPP-ED (1999-07-20--2004-07-19)3 substitute; Committee on Foreign Affairs, Human Rights, Common Security and Defence Policy (2002-01-17--2004-07-19)3
lpv:translated text	"Mr President, Commissioner, ladies and gentlemen, Mrs Fraisse’s Report contains many positive points, which require answers at Community level if we persist in hoping that Commission policies will produce a genuinely European stamp for these projects. Recital F rightly points out that the vitality of the theatre and performing arts should not depend chiefly on public subsidies. It is, in fact, extremely important to boost the diversification of funding sources and to strengthen sponsorship policies, with the corresponding tax relief likely to attract sponsors. It is also important, however, that the performing arts develop a satisfactory business dimension. We live in a market economy and neither the State not the European Union should act as a wet nurse or a nanny for cultural creation. There is no justification whatsoever for the performing arts as a rule to be directly supported by a system of public subsidy for productions. It is more important for cultural creation to run the risks inherent to it and that public resources facilitate international promotion, distribution, greater accessibility of content through translation and subtitling and proper co-production, in the spirit of the ‘Culture 2000’ Programme. There is, however, every reason why artistic training from childhood, as well as contact with cultural creation in all spheres – and therefore with the arts and performing artists – judiciously promoted from school onwards, should make a decisive contribution to finding new publics, which we can expect will lead to an increase in the demand for cultural consumption likely, at least in part, to sustain the corresponding supply. What makes no sense is to reduce supply and funding for supply without seeing any significant growth in audiences, which are still lacking. Let us hope that the Fraisse Report is also a step in this direction."@en1

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