Czechia lost more than 3,000,000 inhabitants as a result of the WW II. Germans displaced from the borderland formed the largest part. The newcomers after 1945 were of a different character – without any relation to their new settlements. This population formed a special social milieu familiar with the socialist way of thinking and that of a suppressed middle class. The consequences of it are seen in demographic, economic, environmental and social areas. After 1989, the factories in the borderland were mostly closed down, armies left the territory, people were not prepared to start their own businesses. Large-scale landscape protection formed a new barrier. Tourism is not able to substitute for the decrease in employment. The hope in cross-border collaboration has been overestimated.
The paper assesses the professional theatres operating under the Association of Professional Theatres in the Czech Republic in the period 2011-2015 using the financial analysis, particularly the profitability indicator ratio (ROA, ROCE, ROE, ROS) and the rate of income self-sufficiency. The reason for this economic exploration of theatres is in the fact that the service they provide fall under collectively provided public goods (a common feature of most cultural institutions), and that the market is not able to effectively secure these goods on the profit principle. The J. K. Tyl Theatre in Pilsen, the Drak Theatre in Hradec Králové and the Moravian Slovakia Theatre in Uherské Hradiště have reported the best results of profitability indicators. Whereas the worst results in profitability have been reported for the North Bohemian Theatre of Opera and Ballet in Ústí nad Labem, the Antonín Dvořák Theatre in Příbram and the South Bohemian Theatre in České Budějovice. The rate of income self-sufficiency within 2011-2015 ranges from 12-55% of the total budget volume, and volume and shows a strong dependency of professional theatres on foreign resources, particularly from public resources of the local levels of the government being the most common funder of these cultural institutions. It turns out that, from the economic point of view, it is illogical to transform non-profit contributory organizations in culture with a public funder into a different legal form when the purpose of the establishment and the funder remain preserved. Better results are generally obtained from single-genre theatres and, in terms of the auditorium size, smaller theatres focusing on drama or children's production.
refer here to Johann Peter Emilius Hartmann, Niels Gade
(Denmark); Jan Sibelius (Finland); Franz Berwald, Ture Rangström, Carl
Wilhelm Eugen Stenhammar (Sweden); Ludvig Mathias Lindeman (Norway);
Bedřich Smetana, Zdenĕk Fibich, AntoninDvořák, Leoš Janáček, Bohuslav
Martinu, Erich Wolfgang Korngold (the Czech Republic); Frederic Chopin,
Stanislav Moniuszko, Karol Szymanowski, Witold Lutoslawski, Krzysztof
Eugeniusz Penderecki (Poland); Ferenc Erkel, Ernȍ Dorhnányi, Béla Bartók,
Zoltán Kodály, László Lajtha, Joseph Kosma (Hungary); André Modest Grétry,
with his theater
plays “Mindaugas”, “Mažvydas” and “The Cathedral”?15 Did “the kernel of liberalism
inside ethnocentric nationalism” determine peaceful gatherings of the Lithuanian
crowds? We may possibly explain it in that way as well, but I would prefer to
interpret the nationalism of annus mirabilis – at least in the case of Lithuania –
simply as “romantic nationalism”. In the sphere of music that would be such Central
European national romantics as Frédéric Chopin, Ferenz Liszt, and AntoninDvořák.
But how and why this romantic-ethnocentric nationalism