(source ZioGiorgio)
We are at end of year Time to Christmas parties and gifts and Our editorial staff can not help but join the chorus of Christmas! But at the end of year accounts are also so much so that, while following the story under discussion for months now, we have been eagerly looking forward to this point, looking and waiting for an official news announced that the new law on the live show.
In fact, today, December 31, 2009, the situation is shown on the site to open parliament, where you can follow in almost real time updates: open parliament.
As you can see the law must still be approved at the room, then move on to the Senate, and only then, become law. It 'true that the past governments have accustomed us to vote for midnight but are unlikely to discuss this issue again in 2010.
But let's step back, because the proposed "law for the live show" signed at the time by Gabriella Carlucci and Luca Barbareschi, Members of the PDL, talk about it since last March and the statements he gave a most enthusiastic some resolution by the end of the year.
Follow the story in its entirety, it was impossible. If only for the large number of politicians, parliamentarians and celebrities that have ruled in March that separate the protagonists in the months to date.
However, we identified two politicians who seem to have taken to heart the story, the MPs Gabriella Carlucci (PDL) and Emilia De Biasi (PD), so that, just to simplify the law Carlucci-De Biasi at the time you speak.
As if not enough to move the water were added on and off, with colorful and sometimes unpleasant tone, the Minister of Public Administration Renato Brunetta, first defining the "directors parasites" and then talking about the "exorbitant organic opera houses" , and a piece that appeared in The Gazette of November 13 and signed by the Minister Bondi, titled "Artists: that beggars." For the record
Bondi to the Minister spoke of "misunderstandings" due to the controversy arising in the days following his article ...
Nevertheless a first Text of the now famous and coveted "Framework Law for the live show" we were able to obtain it by pointing out, however, as it itself is stuck at 8 October 2009, after which we must continue to follow the different manipulations of the text a bit 'to snuff ...
Conversely it is also proper to emphasize how, in terms of legislation, this new proposal should be to fill a gap more than twenty years, since after the enactment of the law "mother" of 1985, which established the FUS (the Fund only for the show), have never been laws passed by Parliament "daughters."
But because this law is important? Each of us, who rightly considers party, will have more than one hundred reasons to consider legislative reform and contract of the show is absolutely necessary, but analyzing the situation in perspective less "romantic" and more material can be understood as the sector is not insignificant .
This is because we are not the usual four cats, since the category "entertainment" are also included all the categories of film, theater, opera
... And then his eyes widening slightly, you'll notice significant numbers of all (source www.tafter.it and Yearbook of Tourism and Culture).
Data refer to 2007, when the phantom "Crisis" was not so overt in Italy ...
Whatever the field of music and entertainment industry adds value to 5.1862 billion euro, employs about 120 000 people.
In particular, according to data reported Yearbook of Tourism and Culture own in 2007, theatrical activity generated a turnover of € 520 million, the concert amounted to almost EUR 300 million; Concerts and dance activities have exceeded one billion euro (Concerts ... i understand) the attractions of the traveling show has moved 298 million euro, and outdoor events, along with demonstrations multigene, showed a turnover of 123 million euro.
Also in 2007, were identified in our country, 158,521 sites devoted to the show, which hosted nearly 2,670,158 events, of which 169,226 have concerned activities in theater, opera, comedy and music magazine, makeup, puppets and marionettes, various art and circus.
These official figures arbitrarily neglecting and omitting the category of cinema which alone almost doubled the numbers in terms of workers.
We are in the presence of important figures both at the level of "employees" - and would be the case that even the lawmakers understood - we are talking about a number of workers at least one of the big car plants ...
But back to the topic under consideration. Read and digested (so to speak) the text we tried to understand what the real thinking of the promoters, being written in hatred "newspeak" unintelligible at first reading. Based on statements made by those
(Carlucci and De Biasi fact) reported for example that "The world of entertainment needs a reorganization," which are "additional funds", is "to give greater value to artistic productions."
And yet, this is called "priority national interest and national policy for the performing arts and forms of understanding and coordination between state institutions, regions, provinces, metropolitan areas and municipalities ", etc.. etc.
If we stop this we will not find much more than they already do not know. But a text written and complete (though not the final repeat) exists and that is why we invite you to read it in full preparation to avoid incurring an incorrect or biased, due to extrapolated sample sentences, even if taken from official statements appeared in the course of months.
Among the many issues addressed, we try to give some comment on, if only those issues that we feel closer to our experience. Trying to maintain a minimum order start reading those that are identified as "Purposes and principles" contained in the first two articles.
start with art. 2, section F, where you highlight a sentence in which it calls the "promotion of new talent and artistic innovation and entrepreneurship ..."
From here we want to symbolically start because more or less everyone is thanks to an artist who able to live and to their profession.
become of paramount importance to create and find new artists that are credible and durable.
course, but definitely not an easy task to pursue. Then we would not want the confusion of the "promotion" style realityshow with training, which remain
two distinct things ... But it is true that later on we talk about both "cultural education" (Article 11) is of "vocational training and higher education" (Article 12).
These two articles should meet the structural and cultural chasm that always affects the formation in the entertainment industry, whether viewed from the artistic and the technical side.
In this regard, as the only consideration, we bring the eye of the reader as we speak broadly enough training to "lighting designer" and "sound engineer", whereas other countries have already covered this clear and largely exceeded the limitation and simplification of roles in the field ...
down a few points we report (Art. 2 O) a phrase that has made us a little 'smile, "the social protection of professionals through the tools of welfare, can compensate for the random and precarious nature of the artistic profession "that we would like not to comment except with a terse" precarious and uncertain "...
down one line (art. 2, paragraph D) read: "recognition of the profession of agent for the live show."
The argument, very interesting, is gutted and processed in art. 14, where, among other things, we read "within six months from the date of entry into force of this Law shall be established at the Ministry of National Heritage and Culture, the register of agents of the performing arts and the natural or legal persons engaged in managerial and economic sector. "
And again on the inclusion in this book (that seems to be) "is an advantage to play the role of general manager, artistic director and organizational foundations operatic and symphonic in traditional theaters, concert-institutions orchestras, theaters stable and stable in subjects of dance, in the bodies of promotion and education of the public, municipal theaters in festivals and festivals. "
How you can access the registry? Who and what credentials will be part of the registry? Many will wonder what it will cost then? Questions that certainly deserve answers.
A kind of response seems to be in effect as envisaged in paragraph 2 of that Article. 14 "are also similar to the figure of the professional staff of the show that way in the prevailing stable and continuous and are promoting artists and producing, organizing and staging the shows of contemporary popular music live."
continue our brief analysis focusing on major points of interest and neglecting, deliberately for the time being, all points on to revenue (funds, institutions, etc ...)
we come to art. 15 entitled "Measures in the area of \u200b\u200binsurance protection and job placements."
A theme always burning and heard in the area is on the "when" an employee in our industry may be considered covered by insurance, just by the nature uncertain and precarious.
I am referring to cases of such transfers, day-off, temporary removal (and justifiable) from the place of work etc. Well, we tried to understand better going back to the various decrees cited.
Point 2 of art. 15 reads the phrase that we deemed to be the most important and provides "insurance against accidents at work is extended to employees referred to in paragraph 1 of Article 34 of Legislative Decree 10 September 2003, No 276 "(link to the decree).
In this decree just mentioned in September 2003, and in particular Article 34 and paragraph describes - in short - the types of contract, part-time, modular or flexible.
In this decree, however, would be made ad hoc addition (expressed in the bill in question) which states that "the contract of employment may be intermittent, however, be concluded with respect to services rendered by employees of the performing arts." This
sentence would seem to leave a wide margin of arbitration between the contractor and the employer, by not explicitly made clear and unequivocal contractual arrangements. You have the ball ... We jump
art. 21 which deals with regulation of activities in specific sectors and we look at the time, the section titled "Circus, traveling shows, street artists and popular entertainment."
There are a couple of points that deserve a very detailed discussion between the various stakeholders.
Paragraph F and subsection G, respectively, speak of "the purchase of new equipment, machinery, equipment and capital goods" and "restructuring areas equipped. "
In this case the only hope - or shall we say hope - is that respondents are definitely people actually working in specific areas so as not to waste energy and money works and investments in non-compliant or, at worst, totally unsuitable for purposes.
But the question that seems to be more tricky, and take care not to make judgments in this case without the requisite experience, concerns the question of money: money! Always
protagonist is the famous "FUS" Fund for the Performing Arts, the mechanism used by the Italian government to settle the government intervention in the areas of the entertainment world (cinema, theater, music, etc).
Who cares should go to read this document which, among other things, on page 11 and 12 are reported some charts the progress of funds set up by the FUS 1985 to 2007, the last year under analysis. (Link to document)
This means that once again the money to promote, produce and disseminate the art of live entertainment in our country depend on governments and rulers of the day.
frees us from making further considerations on but will leave you even bringing back a part of one of the last actions of the 'On De Biasi (December 9) at the Chamber of Deputies: "... The culture is also considered just a cost and certainly not an investment. It was rejected, among others - Of course as everyone else - the amendment to restore the Fund only for the show from 2007 levels. We are talking about 550 million, really little. "
" I would like to see in detail all the items that were increased in this small and then if they actually have huge financial and items that could and should leave room for the financing of culture and entertainment . We asked 550 million (an increase in low), but very few needed to get out of the line of survival, because this is about. Foundations lyrical-symphonic drain most of the Fund only for the show and live the darkest crises in their history. Bondi Minister has promised the reform for a year and is not never arrived, promised tax relief and never arrived (of course, is revenue, I would also like to see here!) and the show is a drama in the drama. The theaters are closed, the subjects of the fund are opera and concert with the water in the throat. Rounding out the bands, the music ends up in our country. Well, I think that with all the television and the stresses that are required should be put on a moral issue, and that is why the spectacle and the culture in this country are considered to be the fun of the king and not a productive activity and socially important for the lives of citizens ... ".
For the moment is everything, but does not end here ...
In fact, today, December 31, 2009, the situation is shown on the site to open parliament, where you can follow in almost real time updates: open parliament.
As you can see the law must still be approved at the room, then move on to the Senate, and only then, become law. It 'true that the past governments have accustomed us to vote for midnight but are unlikely to discuss this issue again in 2010.
But let's step back, because the proposed "law for the live show" signed at the time by Gabriella Carlucci and Luca Barbareschi, Members of the PDL, talk about it since last March and the statements he gave a most enthusiastic some resolution by the end of the year.
Follow the story in its entirety, it was impossible. If only for the large number of politicians, parliamentarians and celebrities that have ruled in March that separate the protagonists in the months to date.
However, we identified two politicians who seem to have taken to heart the story, the MPs Gabriella Carlucci (PDL) and Emilia De Biasi (PD), so that, just to simplify the law Carlucci-De Biasi at the time you speak.
As if not enough to move the water were added on and off, with colorful and sometimes unpleasant tone, the Minister of Public Administration Renato Brunetta, first defining the "directors parasites" and then talking about the "exorbitant organic opera houses" , and a piece that appeared in The Gazette of November 13 and signed by the Minister Bondi, titled "Artists: that beggars." For the record
Bondi to the Minister spoke of "misunderstandings" due to the controversy arising in the days following his article ...
Nevertheless a first Text of the now famous and coveted "Framework Law for the live show" we were able to obtain it by pointing out, however, as it itself is stuck at 8 October 2009, after which we must continue to follow the different manipulations of the text a bit 'to snuff ...
Conversely it is also proper to emphasize how, in terms of legislation, this new proposal should be to fill a gap more than twenty years, since after the enactment of the law "mother" of 1985, which established the FUS (the Fund only for the show), have never been laws passed by Parliament "daughters."
But because this law is important? Each of us, who rightly considers party, will have more than one hundred reasons to consider legislative reform and contract of the show is absolutely necessary, but analyzing the situation in perspective less "romantic" and more material can be understood as the sector is not insignificant .
This is because we are not the usual four cats, since the category "entertainment" are also included all the categories of film, theater, opera
... And then his eyes widening slightly, you'll notice significant numbers of all (source www.tafter.it and Yearbook of Tourism and Culture).
Data refer to 2007, when the phantom "Crisis" was not so overt in Italy ...
Whatever the field of music and entertainment industry adds value to 5.1862 billion euro, employs about 120 000 people.
In particular, according to data reported Yearbook of Tourism and Culture own in 2007, theatrical activity generated a turnover of € 520 million, the concert amounted to almost EUR 300 million; Concerts and dance activities have exceeded one billion euro (Concerts ... i understand) the attractions of the traveling show has moved 298 million euro, and outdoor events, along with demonstrations multigene, showed a turnover of 123 million euro.
Also in 2007, were identified in our country, 158,521 sites devoted to the show, which hosted nearly 2,670,158 events, of which 169,226 have concerned activities in theater, opera, comedy and music magazine, makeup, puppets and marionettes, various art and circus.
These official figures arbitrarily neglecting and omitting the category of cinema which alone almost doubled the numbers in terms of workers.
We are in the presence of important figures both at the level of "employees" - and would be the case that even the lawmakers understood - we are talking about a number of workers at least one of the big car plants ...
But back to the topic under consideration. Read and digested (so to speak) the text we tried to understand what the real thinking of the promoters, being written in hatred "newspeak" unintelligible at first reading. Based on statements made by those
(Carlucci and De Biasi fact) reported for example that "The world of entertainment needs a reorganization," which are "additional funds", is "to give greater value to artistic productions."
And yet, this is called "priority national interest and national policy for the performing arts and forms of understanding and coordination between state institutions, regions, provinces, metropolitan areas and municipalities ", etc.. etc.
If we stop this we will not find much more than they already do not know. But a text written and complete (though not the final repeat) exists and that is why we invite you to read it in full preparation to avoid incurring an incorrect or biased, due to extrapolated sample sentences, even if taken from official statements appeared in the course of months.
Among the many issues addressed, we try to give some comment on, if only those issues that we feel closer to our experience. Trying to maintain a minimum order start reading those that are identified as "Purposes and principles" contained in the first two articles.
start with art. 2, section F, where you highlight a sentence in which it calls the "promotion of new talent and artistic innovation and entrepreneurship ..."
From here we want to symbolically start because more or less everyone is thanks to an artist who able to live and to their profession.
become of paramount importance to create and find new artists that are credible and durable.
course, but definitely not an easy task to pursue. Then we would not want the confusion of the "promotion" style realityshow with training, which remain
two distinct things ... But it is true that later on we talk about both "cultural education" (Article 11) is of "vocational training and higher education" (Article 12).
These two articles should meet the structural and cultural chasm that always affects the formation in the entertainment industry, whether viewed from the artistic and the technical side.
In this regard, as the only consideration, we bring the eye of the reader as we speak broadly enough training to "lighting designer" and "sound engineer", whereas other countries have already covered this clear and largely exceeded the limitation and simplification of roles in the field ...
down a few points we report (Art. 2 O) a phrase that has made us a little 'smile, "the social protection of professionals through the tools of welfare, can compensate for the random and precarious nature of the artistic profession "that we would like not to comment except with a terse" precarious and uncertain "...
down one line (art. 2, paragraph D) read: "recognition of the profession of agent for the live show."
The argument, very interesting, is gutted and processed in art. 14, where, among other things, we read "within six months from the date of entry into force of this Law shall be established at the Ministry of National Heritage and Culture, the register of agents of the performing arts and the natural or legal persons engaged in managerial and economic sector. "
And again on the inclusion in this book (that seems to be) "is an advantage to play the role of general manager, artistic director and organizational foundations operatic and symphonic in traditional theaters, concert-institutions orchestras, theaters stable and stable in subjects of dance, in the bodies of promotion and education of the public, municipal theaters in festivals and festivals. "
How you can access the registry? Who and what credentials will be part of the registry? Many will wonder what it will cost then? Questions that certainly deserve answers.
A kind of response seems to be in effect as envisaged in paragraph 2 of that Article. 14 "are also similar to the figure of the professional staff of the show that way in the prevailing stable and continuous and are promoting artists and producing, organizing and staging the shows of contemporary popular music live."
continue our brief analysis focusing on major points of interest and neglecting, deliberately for the time being, all points on to revenue (funds, institutions, etc ...)
we come to art. 15 entitled "Measures in the area of \u200b\u200binsurance protection and job placements."
A theme always burning and heard in the area is on the "when" an employee in our industry may be considered covered by insurance, just by the nature uncertain and precarious.
I am referring to cases of such transfers, day-off, temporary removal (and justifiable) from the place of work etc. Well, we tried to understand better going back to the various decrees cited.
Point 2 of art. 15 reads the phrase that we deemed to be the most important and provides "insurance against accidents at work is extended to employees referred to in paragraph 1 of Article 34 of Legislative Decree 10 September 2003, No 276 "(link to the decree).
In this decree just mentioned in September 2003, and in particular Article 34 and paragraph describes - in short - the types of contract, part-time, modular or flexible.
In this decree, however, would be made ad hoc addition (expressed in the bill in question) which states that "the contract of employment may be intermittent, however, be concluded with respect to services rendered by employees of the performing arts." This
sentence would seem to leave a wide margin of arbitration between the contractor and the employer, by not explicitly made clear and unequivocal contractual arrangements. You have the ball ... We jump
art. 21 which deals with regulation of activities in specific sectors and we look at the time, the section titled "Circus, traveling shows, street artists and popular entertainment."
There are a couple of points that deserve a very detailed discussion between the various stakeholders.
Paragraph F and subsection G, respectively, speak of "the purchase of new equipment, machinery, equipment and capital goods" and "restructuring areas equipped. "
In this case the only hope - or shall we say hope - is that respondents are definitely people actually working in specific areas so as not to waste energy and money works and investments in non-compliant or, at worst, totally unsuitable for purposes.
But the question that seems to be more tricky, and take care not to make judgments in this case without the requisite experience, concerns the question of money: money! Always
protagonist is the famous "FUS" Fund for the Performing Arts, the mechanism used by the Italian government to settle the government intervention in the areas of the entertainment world (cinema, theater, music, etc).
Who cares should go to read this document which, among other things, on page 11 and 12 are reported some charts the progress of funds set up by the FUS 1985 to 2007, the last year under analysis. (Link to document)
This means that once again the money to promote, produce and disseminate the art of live entertainment in our country depend on governments and rulers of the day.
frees us from making further considerations on but will leave you even bringing back a part of one of the last actions of the 'On De Biasi (December 9) at the Chamber of Deputies: "... The culture is also considered just a cost and certainly not an investment. It was rejected, among others - Of course as everyone else - the amendment to restore the Fund only for the show from 2007 levels. We are talking about 550 million, really little. "
" I would like to see in detail all the items that were increased in this small and then if they actually have huge financial and items that could and should leave room for the financing of culture and entertainment . We asked 550 million (an increase in low), but very few needed to get out of the line of survival, because this is about. Foundations lyrical-symphonic drain most of the Fund only for the show and live the darkest crises in their history. Bondi Minister has promised the reform for a year and is not never arrived, promised tax relief and never arrived (of course, is revenue, I would also like to see here!) and the show is a drama in the drama. The theaters are closed, the subjects of the fund are opera and concert with the water in the throat. Rounding out the bands, the music ends up in our country. Well, I think that with all the television and the stresses that are required should be put on a moral issue, and that is why the spectacle and the culture in this country are considered to be the fun of the king and not a productive activity and socially important for the lives of citizens ... ".
For the moment is everything, but does not end here ...
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