The performing arts, more specifically theatres, can be considered representative and indicative of the cultural policy developments in Hungary. The theatre profession is sharply divided along political lines, the role of a few – or rather one – influential person is symptomatic about the patronal character of the society. This is not counterbalanced by the composition of the 24-member National Performing Arts Reconciliation Council, several members of which are delegated by organisations outside the NER halo: its majority, nevertheless, votes in support of the government.
The division became manifest by sharing the public theatres in Hungary between the government and the municipality of Budapest when in 2019 the opposition won at the local government elections (earlier joint supervision and financing was the rule). As a symptom, the once common open-air theatre was divided into two, with two different venues: one for the state and one for the city. The second venue of the Opera (with more seats) has also been separated and converted into a commercial concert hall: but in this case both halves belong to the state. The formerly consensual national showcase of theatres (POSZT – National Theatre Reunion in Pécs) was discontinued, and loyalty appears to bias the distribution of financial resources and distinctions. Independent ensembles, which play an important role in the Hungarian performing arts, are dispreferred, especially if they put critical content on stage. On the other side, shows and performers of dubious value are in disproportional favour. A particularly controversial phenomenon is sponsored concerts and biopics of old rock singers from the communist era, which respond to the belated attention with loyalty. In addition, talent shows, popular with viewers also absorb massive public subsidies.
The political and cultural division has spilled over to the top-level educational institute, the University of Film and Theatre Arts SZFE, the account of which is described at 2.1.
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