“What would a ‘fair’ wage per year for an actor be? Or What do we feel it to be?”
Diese Frage wurde Adam Thurman gestellt, der sie an die LeserInnen seines The Mission Paradox Blog weiter gegeben hat. In einigen Kommentaren wird seine Frage mit konkreten Zahlen beantwortet. Mal sind es 20.000 USD, mal 40.000.
Interessant ist aber der Kommentar von Michael Fiala, der 26 Jahre als Schlagzeuger gearbeitet hat und heute sein Geld in der Marketingbranche verdient. In den frühen 80er Jahren war die Bezahlung noch angemessen, schreibt er.
“Bigger artists payed more because they sold more tickets, records(remember them?), and merchandise, and knew they needed to pay more for my services to maintain the quality performance they needed to please their audiences.”
Aber die Rahmenbedingungen veränderten sich. Mehr Schlagzeuger boten ihre Leistungen an und da das Angebot (an Schlagzeugern) die Nachfrage überstieg, war es vorbei mit der angemessenen Zahlung. Warum das so ist, beschreibt Fiala so:
“It’s also important for artists to remember that it’s the responsibility of ANY manager – no matter how much they WOULD LIKE to pay their artists – to make a profit. And that means controlling costs. And labor is a cost. If the cost of labor is too high, the organization cannot, by definition, sustain itself.
So I don’t think arbitrarily setting wages (“price-fixing”) works in a a free market, or fits well with a reasonable business model. Historically, price-fixing tends to lead to “outsourcing”, downsizing, or the organization closes its doors entirely.
My union tried to hold the line on wages in the 1980’s and failed every time, with the exception of a few major symphonies and major national touring, recording, television, and film contracts. In fact, wages usually went down when the musicians union interfered in the market.”
Welche Schlussfolgerungen lassen sich daraus ziehen? Fiala weiter:
“I know creative people tend to think money grows on trees and “the man” is sticking it to them, but the harsh reality is, the arts are a business just like any other … and must turn a profit to survive. So, if creatives don’t feel they’re getting paid enough, they have some choices:
1– improve your skills and try to get a better job;
2– If you feel you’re as good as the best in the business, move to the appropriate city and try to work your way up the ladder;
3– If that isn’t possible, try to find innovative, creative ways to bring added value to what you’re already doing. Try to attract more people to pay their hard earned money to see your performances.”
Was denken Sie? Stimmen Sie dieser Sichtweise zu? Und trifft das auch auf KulturmanagerInnen zu?
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