What are the most viewed plays and how the public’s habits were transformed against the crisis

During the last year, The crisis harmed as a standard of living and therefore reconfigured participation in cultural consumption, which includes the performing arts. According to AADET data in 2024 there was a 12% decrease in public rooms and the average assistant indicator per function from 308 to 255 also fell.

According to the study by Alternative Foundation and Cultural Consumption Foundation, respondents They reduced expenses in various areas, among which gastronomic outings and clothing are mainly mentioned, followed by cultural exits. Only 4% did not make any type of adjustment of expenses in the last 12 months.

75% decreased their expenses in cultural exits and consumption in the last year for economic reasons. The adjustment is superior in people of low and medium socioeconomic level, although in the high sector 64% cut them. An important segment tries to sustain cultural expenses. For 42% they still have priority in the present economic context. On the contrary, 18% do not consider them priority.

Within this framework, when the table of the ten most viewed works of the commercial circuit is observed, there seems to be no crisis because they lead “Rocky”, with an average entry of 54,858 pesos (they go from $ 70,000 to $ 30,000 and exhaust), followed by “The dinner of the fools”, with average entry of 40,678 47,987 and thirdly it is located “Health, Moldavsky and Love” with average ticket of 47,987. This shows that there is still demand for a handful of chosen theatrical works and that the public is polarized between these milestones and leaves empty seats in the 400 remaining works offered by the bulky Buenos Aires billboard.

The option of acquiring tickets for all works at half price in Tickets Buenos Aires, Diagonal and July 9, where you have to attend at the beginning of the week to find the work sought.

According to the same study, 27% evaluate their current situation negatively (bad or very bad) while 28% consider it positive (good or very good). The highest levels of discomfort are registered between children under 49, with emphasis on the range of 18 to 29 years and grow as the socioeconomic level drops. That confirms that the strong theater public exceeds 50 years.

In this context, the concurrence to alternative rooms with half -price tickets in the comparison with commercials (average $ 20,000) and official theaters, with tickets from $ 10,200 is unavoidable.

73% perceive a worsening of their economic situation in the last year. The feeling of deterioration is transversal at all socioeconomic levels and age groups, although somewhat greater between people aged 30 to 49 and medium and low sectors.

The reduction of the frequency of film assistance is already mentioned by half of the respondents, while two out of ten abandoned these practices. The decrease and resignation are greater among people of medium and low socioeconomic level, while the possibility of maintaining practices is higher at the high level. Participation in museums reveals greater stability, given its low economic value. So that the boom of stadiums exhausted by local and international concerts is validated by the previous statement: the public with high purchasing power can continue paying entries to recitals and theater.

Continuing with the most watched in theater, fourth is located “The boss of the boss”, with Diego Perettithen “A shit Christmas”, with Verónica Llinás And in sixth place “Gender issue” with Moria Casán and Jorge Marrale. Those popular figures that have television tradition (as well as Nico VázquezNot so Moldavsky) affirm the theatrical billboard and feed the theory of Carlos Rottemberg: TV fiction creates a virtuous link and circle between the public and its stars whom they want to see in theater. To continue without fiction on the small screen is in danger the communion that is still generated.

But the new phenomenon can be taken into account, not of actors but of influencers or streamers that disembark in theater: those young figures such as Nanutria either Mati Spano Among many others, they exhaust and take young people to the rooms, while streaming channels such as Luzu TV are producing some plays as “in the middle of so much fire”, directed by Alejandro Tantanian In Dumont 4040.

95% attended performing arts rooms in the last year. 60% did it with intensive frequency (once a month or more). In addition, 78% are experienced public, that is, with more than ten years of age of concurrence to Salas. Only 6% interrupted the practice in the last year.

There is 11% that increased the frequency of assistance to performing arts rooms in the last year, with a larger inclination in the range of 18 to 29 years. This increase is mainly explained by a greater knowledge of the offer or for having started performing arts workshops or known people with whom to attend.

62% decreased its frequency of assistance, a percentage that increases as the socioeconomic level drops. The fall is also higher among those who evaluate their current economic situation in a negative way and among people who perceive that their conditions worsened in the last year. Nevertheless, Half of high levels limited the frequency. The decrease is mainly justified by the cost of entries and the need to prioritize other expenses.

To close the ranking of the ten most watched, in seventh place it was located “Who is who”with Silveyra Solita and Beto Brandoni, In eighth place “Chanta “with Rada will aristar, Ninth was “Start with D, seven letters”of Juan José Campanella And close “The function that goes wrong”, with Diego Reinhold, inter alia.

Faced with this panorama, an important part of the audiences deployed various strategies to sustain participation or cushion the decrease: Use of discounts (87%), reduction of gastronomic outputs associated with theatrical activity (77%), preference for independent rooms (73%) or state (64%) due to the lowest cost of the ticket compared to commercials, deepening the search for information about the work before acquiring the entrance (65%) and option for free works or the cap (59%). Undoubtedly, that effort not to disconnect from the artistic fact is, in itself, an indicator of value and deserves to be accompanied and enhanced.

The current crisis can be an opportunity to review production models: Think collectively more diverse circuits, more accessible entries, proposals in peripheral or non -centralized territories, cultural and political mediation devices that guarantee not only artistic creation but also the right to participate in it.