On World Theatre Day, Paulo Dias highlighted the growing financial disparities in the cultural sector. “Public entities have financial guarantees, whereas independent cultural agents face daily challenges like selling tickets, ensuring team stability, maintaining infrastructure, and preserving historical buildings to continue their cultural work,” stated the Tivoli’s administrator.
Diaz pointed to Tivoli in Lisbon, a century-old building classified as a monument of public interest but without access to maintenance support programs. He noted that “the Recovery and Resilience Plan (PRR) funds do not include private companies in the cultural sector.”
The director-general of the production company UAU mentioned obstacles from programmers that complicate or even censor projects, hindering tours and limiting public access to performances.
In a year marked by elections, the political cycle brings new challenges as “the State itself (through parties, municipal councils, and parish councils) becomes the biggest competitor of theaters and performance halls by offering free politically motivated events.”
“Meanwhile, private companies remain at a disadvantage,” emphasized Paulo Dias, adding, “We must continue to work and sell tickets as public support is our only real help.”
He warned that “venues need help to sustain themselves,” emphasizing that “private programming must be self-sustainable, yet there can’t be performances without venues.”
In 2024, when Tivoli turned 100, it exceeded two hundred thousand spectators with a program that included various concerts of classical and light music, theater, and ballet.
UAU also produces shows at Teatro Armando Cortez, Casa do Artista, and Auditório de Lisboa.
