1.1 Definition and Scope of the Market
Live performance is defined by the physical presence of at least one performing artist receiving remuneration for the public performance of a work of the mind.
The market in Italy is structured around the production and distribution of live performances. This market covers various segments, to name a few: comedy, opera, instrumental music, theatre, circus, which, although do not necessarily share the same clients, yet share, at least in part, the same production resources (e.g. lighting, sound control, decor, security, ticketing, advertising and promotion).
As mentioned, the Italian live performance landscape is made up of a number of artistic expressions yet finds its biggest source of turnover and attendance in two segments: musical and theatrical. The music performance sector counts circa 1100 players and grew by 7% per year in the time frame 2012-2017. The theatre sector, for its part, recorded a positive performance in 2018 both in terms of turnover (+2.7%) and audience spending (+2.8%). The sub segments share a market outlook that is concentrated on the upstream, some major operators cover the organization of the events, but fragmented on the downstream of the distribution, counting a vast, economic fabric, including independent venues, technical assistance professions, stage directors, security companies, etc.
As a result, while this market may appear concentrated in terms of revenue and admissions, it is absolutely fragmented in terms of number of performances and employment. The industry finds its main outlets first with individual customers, more than 50% of Italians attend live performances, then with corporate customers, particularly in the context of team seminars or customer meetings.
1.2 Global Market Analysis
The global performing arts market, which include both independent artists and performing companies, was estimated at $***.** billion in ****, and it is expected to reach $***.* billion by ****, growing at a CAGR of *%. In particular, the scope of the market under analysis is based on the offer of independent artists and performing art ...
1.3 The Italian Market for Performing Arts
In a country like Italy, where culture is considered to be one of the most rooted values for the society, performing arts represent an essential sector for the economy. Taking into consideration the data disclosed by SIAE (***), the number of exhibitions and the revenues of such a market remained high even ...
1.4 Import and Export Analysis
Dealing with performing arts, it is difficult to estimate the number and value of exhibitions "exported or imported", meaning the quantity of spectacles of Italian artists abroad or that of foreign artists given in Italy. However, it is worth considering the instruments, apparatus, and models that are designed for demonstrational purposes ...
1.5 Covid-19 Impact
**** has been a critical year for the market of performing arts. According to the Italian Minister for Culture, Dario Franceschini, as restrictions were released due to the worsening health situation, the market under consideration started undergoing a continuative contraction. To fully understand the severity of the situation, it is enough to ...
2.1 Demand Overview
Taking into consideration the total dimension of the audience for performing arts in Italy, it is possible to see an almost constant trend in the number of people attending and participating in exhibitions, performances, and other sorts of entertainment in the last * to * years. Naturally, such a constant development of the ...
2.2 Demand Drivers
Among the drivers for the demand of performing arts, the educational level and background of individuals play a relevant part in the attractiveness that consumers feel about cinemas, theaters, exhibitions and other forms of art. It has indeed been demonstrated that, among visitors to theaters and cinemas, the vast majority is ...
2.3 Geographical Distribution of Demand
The following map shows the distribution of the overall audience of performing arts in **** per macro-region [***]. In particular, the data used to build the map are referred to the following categories of performing arts:
Cinemas; Theaters; Concerts; Sports; Dance; Travelling shows; Exhibitions.
2.4 New Trends in Demand
As explained in section *.*, COVID-** exerted an enormous impact on the performing arts market. Despite all the negative consequences that the pandemic has imposed on the sector under analysis, a sudden change of context has also represented an opportunity for the development of new genres and the emergence of new ...
3.1 Structure and Dynamics of the Market
Taking into consideration the ATECO code **.** - creative, artistic, and entertainment activities - the following chart represents the main legal forms adopted by the companies in the sector. It is possible to see that the general partnership (***).
Performing Arts - Legal Entities Italy, ****, in %. Source: ****
Furthermore, considering the period from **** to ...
3.2 Fruition Channels
Dealing with the performing arts market, it is worth considering not only the total number of places where people can attend performances, but also that of supporting activities for performances themselves.
First and foremost, dealing with the number of fruition channels, it is worth considering the total number of cinema theaters ...
4.1 Typology of the Offer
According to SIAE - Osservatorio dello Spettacolo - the main categories of activities belonging to the performing arts market can be summarized as follows:
Cinematographic activities; Theatre activities; Concert activities; Sport activities; Dance activities; Exhibitions; Travelling shows; En-plain-air activities.
The main trends related to these categories - total number of performances, ...
In order to assess prices in the market under consideration, it is necessary to recall the categories analysed in the previous part to have a complete overview of prices in Italy.
5.1 Regulatory Framework
In ****, the Italian Government approved a new regulation in matters of entertainment and performing arts (***). In particular, such a regulatory framework states that the Italian Government:
Promotes and supports entertainment, in the plurality of its various expressions, as an indispensable factor for the development of culture and as an element of ...
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The study is well structured and covers all aspects in a comprehensive manner. However, it is more like an aggregation of the main elements of a few studies than a real analysis of the sector (4 to 5 sources represent 90% of the study). The study is not aimed at connoisseurs but rather at people who are new to the sector, which makes the analysis a little expensive in relation to its contribution.
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