Daniel Beck1; 1 Corvinus University of Budapest, Hungary
Discussion
After 2010 in Hungary, there were several cultural-political decisions made by the government that affected the theatres. The government has reallocated goods, public funds to new loyal elites who are much more closely controlled because of their dependence on the subsidy from the state. New decisions as laws and regulations were accepted too. These decisions usually caused resistance and counter-arguments from both the cultural elite, the theatrical elite, both from the civil society.
In parallel post-2010 literature seems to be convincing that the previous groups of the cultural elite have been disappearing. On the other hand, a new cultural elite is evolving nowadays. The reason why the government tries to create a new elite-structure, that they want to make a broad elite-change as the regime change in 1989-1990 did not affect this area of the society: the cultural elite of Hungary remained almost intact.
With this paper, I would like to contribute to the elite researches and cultural-political writings, I would like to explore the internal operation of the Hungarian theatrical sphere and its connection with the government as well as the government’s motivation behind the elite change. In the research, I greatly rely on the laws and regulations in connection with the theatres.
