AN INTRODUCTION TO THE ECONOMY OF THEATER IN IRAN

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AFSHAR HAMID REZA

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Journal: Journal of Fine Arts: Performing Arts and Music Year:2014 | Volume:18 | Issue:2 Page(s): 13-20

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Title

AN INTRODUCTION TO THE ECONOMY OF THEATER IN IRAN

Author(s)

AFSHAR HAMID REZA | Issue Writer Certificate

Keywords

ECONOMYQ2

THEATERQ2

PRODUCTIONQ2

DISTRIBUTIONQ2

CONSUMPTIONQ2

Abstract

In this paper, we take a look at the ECONOMY of arts and the relation between the ECONOMY and PRODUCTION of THEATER. The main objective of this study is to study the adverse conditions of Iranian THEATER and the inferior status of this cultural product in Iran. ECONOMY, in scientific terms, is the budget or capital, converted to products for CONSUMPTION. Product is something that both meets the needs of people, and is exchanged with other products. Therefore, any product has two properties: 1-It meets the needs of people.2- It is produced and distributed for exchange purposes. Human needs are classified into biological and psychological groups, and the PRODUCTION of goods may either satisfy biological or psychological needs. THEATER is considered as a cultural product that meets the psychological needs, and can be consumed like any other product to meet a part of human needs. Just like any other product, THEATER is subject to three economic elements including PRODUCTION, DISTRIBUTION, and CONSUMPTION. Therefore, it is required to create a balance between its costs and incomes. In development terms, THEATER is considered as a valuable product, which should be more consumed by people as the government wishes. Despite such an interest, there are barriers that reduce the share of THEATER in cultural budgets in such a way that the status of THEATER in the finance system and cultural budgets of Iran has lowered to its minimum. Moreover, the support and facilities provided to THEATER is less than the half of those granted to other arts. These barriers can be classified as follows: -Unquantifiable nature of art has made it difficult in general to use quantitative criteria and measuring tools for its recognition. Such a problem makes it also difficult to provide the statistic data and indices that are required for the economic evaluation of an artistic work. -The THEATER artists and experts have no strong will and interest to generate such indices. As the economic studies of art as a branch of economics has not a broad background, the studies conducted in this field are limited to general issues. In addition, they fail to provide a clear perspective on practical and theoretical solutions. This research shows that THEATER in Iran has a small share in the households’ CONSUMPTION baskets and plays an insignificant role in the national economic and development plans. We can therefore conclude that THEATER has an inferior status in Iran, and such an adverse status in artistic PRODUCTION and culture is undermining both quantitatively and qualitatively. If THEATER is considered and employed as a profitable and entrepreneur institute in the cultural society and its economic aspects are studied for taking more upturn, the methods of promoting investments and directing proper financial resources are revealed and the most important obstacles to the upturn of THEATER are removed.

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APA: Copy

AFSHAR, HAMID REZA. (2014). AN INTRODUCTION TO THE ECONOMY OF THEATER IN IRAN. HONAR-HA-YE-NAMAYESHI-VA-MOOSIGHI (HONAR-HA-YE-ZIBA), 18(2), 13-20. SID. https://sid.ir/paper/173203/en

Vancouver: Copy

AFSHAR HAMID REZA. AN INTRODUCTION TO THE ECONOMY OF THEATER IN IRAN. HONAR-HA-YE-NAMAYESHI-VA-MOOSIGHI (HONAR-HA-YE-ZIBA)[Internet]. 2014;18(2):13-20. Available from: https://sid.ir/paper/173203/en

IEEE: Copy

HAMID REZA AFSHAR, “AN INTRODUCTION TO THE ECONOMY OF THEATER IN IRAN,” HONAR-HA-YE-NAMAYESHI-VA-MOOSIGHI (HONAR-HA-YE-ZIBA), vol. 18, no. 2, pp. 13–20, 2014, [Online]. Available: https://sid.ir/paper/173203/en

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