New form of employment security for professional actors

During the past decade, members of the acting profession in Sweden have experienced ever-increasing difficulties in earning their living. According to an official report, this is partly an effect of public labour market policy, together with collectively agreed provisions on temporary and permanent employment contracts. In June 1998, Parliament adopted a bill which will lead to a change in both.

Until the Act on Security of Employment was introduced in 1974, permanent employment contracts hardly existed in theatres. Now, though, if the Act were to be strictly applied, permanent employment contracts would be the rule, and temporary contracts would be allowed only as an exception, in situations expressly stated in the Act. Furthermore, in the event of redundancies, those who had been employed last would have to be the first to leave. However, the Union of Theatrical Employees (Teaterförbundet, STF) and the Association of Swedish Theatres and Orchestras (Teatrarnas Riksförbund, TR) agreed that these rules are not suitable for artistic work. The collective agreement for state-subsidised theatres consequently provides that actors cannot claim a permanent contract until they have worked for three or four years at theatres affiliated to the employers' organisation. Further, the" last in, first out" statutory order of priority in case of redundancies is not applied.

By these deviations from the Act, the bargaining parties created a system which was meant to afford the actors improved security of employment without hindering mobility and artistic creativity in theatres. Actors with permanent contracts also had the right to take leave of absence for a whole theatrical year in order to work for other theatres or in film, television or radio without losing their employment, which should help to promote mobility between one artistic venue and another.

After several years of public economy measures, this system does not work any more, according to an official report (SOU 1997:183) published late in 1997. As the theatres try to minimise their permanent staff, actors who have a permanent contract do not have the same opportunities as before to find work outside their own theatres for a whole year. Freelancers feel that it is becoming increasingly difficult to obtain jobs in theatres and that they are excluded from obtaining the necessary acting experience. Thus, unemployment among artists affiliated to the unemployment benefit fund of STF has risen much more than in other professions, and in 1996 the average unemployment rate for actors was around 25%, compared to just over 8% for the labour market generally.

The dilution of skills and amateurism in the profession

This high rate of unemployment can be explained by a combination of factors, the official report states. One of them is the collective agreement, which in practice obliges an employer which wants to re-engage an actor to offer him or her a permanent contract after one year's service if he or she has been engaged for three years by other theatres. As the theatres seek to avoid enlarging their permanent casts, the very fact that an actor is experienced and highly qualified consequently diminishes his or her chances of obtaining further employment.

Another factor which is possibly more important in the huge rise in unemployment is government labour market policy, the report concludes. Anyone can register at the employment office to work as an actor, and many young people with very little work experience do so. In these cases, the very fact that they lack experience of artistic work and advanced education for the profession qualifies them for benefits which makes it possible for theatres or other institutions to engage them at a very low cost. Thus, the wages for professional artists decline and artists can even lose their jobs. In addition, cultural life is characterised by increased amateurism which runs contrary to the objectives of the Government's cultural policy.

The author of the report finds this unacceptable. Even if some of them may develop to be great artists, the majority of actors are led to believe that they have a future in a profession where they will never be able to earn a living. The increasing amounts spent on unemployment benefits and active labour market measures are simply used in a way that leads to a dilution of acting skills and deters good actors from staying in the profession.

Improved terms for professional artists

On 5 June 1998, Parliament adopted a government bill implying a reorientation of labour market policy and proposing measures to enable professional artists to live on what they earn from their work, instead of having to claim unemployment benefits.

One such measure is to create a new form of employment for actors. During a trial period of one and a half years, starting from 1 January 1999, the state will give financial support to a new foundation, whereby freelance actors with at least seven years' professional experience will be offered employment. This foundation will not, however, mount any performances. It will function as an employment agency, from which theatres and other employers may engage actors on contracts of various duration without being obliged to offer them permanent contracts, a fact which will make the theatres more inclined to hire these actors. During such periods, the actors are formally on leave of absence without pay from the foundation, which is their main employer. At times when they are not engaged in professional acting, they will be offered further education while receiving full pay from the foundation. As they will not have to rely on the unemployment benefit fund, these actors will have a pensionable income at all times.

Commentary

The new form of employment for actors can not be realised unless STF and TR modify the provisions of the collective agreement, but everything indicates that they will do so. Parliament's decision is based on the social partners' own proposals, and a new agreement is likely before the end of 1998. There are still some details which have to be worked out. The reorientation of labour market policy for actors is only an indirect conclusion of the new legislation, which formally deals primarily with cultural policy measures such as granting more money to the so-called "free theatres" so they can afford to pay their actors, and to the artists' own employment agencies. (Kerstin Ahlberg, Arbetslivsinstitutet)