A PILOT STUDY TO EVALUATE THE CURRENT MODEL OF FUNDING FOR STATE CULTURAL INSTITUTIONS IN THE FIELD OF THE PERFORMING ARTS IN BULGARIA
A PILOT STUDY TO EVALUATE THE CURRENT MODEL OF FUNDING FOR STATE CULTURAL INSTITUTIONS IN THE FIELD OF THE PERFORMING ARTS IN BULGARIA

Summary/Abstract: The aim of this study is to examine the expert assessments and practical experience of managers of state cultural institutions in the field of the performing arts regarding the adequacy, effects and necessary changes to the current funding model for theatres and opera institutions in Bulgaria. The article presents a pilot study conducted between May and July 2026, designed to test the feasibility of a questionnaire developed for a subsequent large-scale study. The research instrument consisted mainly of open-ended questions designed to explore the expert assessments of managers and the practical experience of their teams regarding the funding of these cultural institutions. The respondents represented theatres and opera or musical theatre institutions and included directors, deputy directors and managers with varying levels of professional experience. The data collected were analysed using thematic content analysis, involving the coding of responses, the grouping of similar statements, the identification of recurring categories and the comparison of expert positions. The results show that the current funding model is perceived as stimulating institutional activity, audience development and the generation of own revenue, whilst at the same time creating an excessive reliance on quantitative indicators. The main weaknesses highlighted by respondents include the growing gap between income and expenditure, outdated financial standards, insufficient recognition of institutional differences, financial unpredictability in the arts, administrative burdens and the risk of commercialisation of the repertoire. The findings suggest that the existing model may limit artistic risk-taking, experimental productions, educational initiatives and socially oriented activities. All respondents supported the introduction of guaranteed funding for fixed costs, whilst acknowledging the need for a performance-based component linked not only to attendance and revenue, but also to artistic quality, public value, regional functions, audience development and professional recognition. The study concludes that the pilot methodology is relevant and capable of identifying the main financial, organisational and artistic effects of the current system, although the small and uneven sample does not allow for generalisations about all state cultural institutions. It is recommended that the questionnaire be refined by clarifying several concepts, reducing the number of open-ended questions and combining qualitative responses with structured scales and ranked criteria. The preliminary results support the development of a differentiated hybrid funding model, combining a stable core component with additional funding based on artistic, social, organisational and financial outcomes

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