Thesis (MDram (Drama))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: Production houses, theatres and arts festivals are closely involved in the development of the Afrikaans theatre industry. Other than the first two entities, arts festivals, with their special focus on Afrikaans theatre, are a recent development of the shifting situation in post-1994 South Africa, when political changes led to a new climate surrounding the arts in general and drama in particular, creating a free-market situation with a number of specific challenges. A historical overview of the three entities is provided before an investigation is undertaken to establish the extent to which the arts industry is managed according to business principles. The focus falls on drama groups, theatres and Media24 sponsored arts festivals in particular, as observed within the broader context of the English theatre industry, from which a lot can be learnt. The hypothesis of this study is that some of the problems which the Afrikaans drama industry faces, can be ascribed to the fact that the management of the industry is creativity-orientated rather than business-orientated. From examples of stage productions, as well as a variety of data obtained from both written and oral sources – due to a shortage of research in this field – analyses were undertaken of the Afrikaans drama industry’s performance in order to establish in how far business principles are applied, the lack of skills experienced and how marketing can be improved. This study finds that it is difficult to come to obvious conclusions due to the number of variables. Broad guidelines could be established, however, linked to aspects such as market research on the segmentation of target groups, the choice of themes and players, demand and affordability. The key to efficient marketing lies in a thorough knowledge of the field, combined with the strategic management of demand and supply. A proper balance between business principles and creativity is of cardinal importance in order to allow Afrikaans theatre to grow to its full potential. / AFRIKAANSE OPSOMMING: Produksie-geselskappe, teaters en kunstefeeste is baie nou gemoeid met die ontwikkeling van die Afrikaanse teater-industrie. Anders as die eerste twee entiteite is kunstefeeste wat besondere aandag aan die Afrikaanse teater bestee, egter ’n onlangse uitvloeisel van die veranderde situasie in Suid-Afrika na 1994, toe politieke veranderinge die klimaat rondom die kunste in die algemeen en toneel in die besonder ingrypend verander het en ’n vryemark-situasie geskep is wat heelwat uitdagings stel. Die geskiedenis van die drie entiteite word aanvanklik oorsigtelik nagegaan, voordat ondersoek word in watter mate die kunste-industrie bedryf word op grond van sakebeginsels. Die fokus val op Afrikaanse toneelgeselskappe, teaters en veral op die Media24-kunstefeeste, maar soos gesien binne die ruimer konteks van die Engelse teaterbedryf waaruit heelwat geleer kan word. Die hipotese van die ondersoek is dat sommige probleme in die Afrikaanse toneelbedryf daaraan toegeskryf kan word dat die teaterkuns kreatief eerder as besigheidsgeoriënteerd bestuur word. Uit voorbeelde van toneelproduksies, asook op grond van ’n verskeidenheid data wat weens die tekort aan bestaande navorsing beide mondeling én skriftelik verkry is, word ontleed hoe die Afrikaanse toneelbedryf vaar rakende sakebeginsels, watter leemtes bestaan en hoe suksesvolle bemarking kan plaasvind. Daar word bevind dat dit weens al die veranderlikes moeilik is om afleidings te maak, maar breë tendense kan tog vasgestel word, gekoppel aan aspekte soos marknavorsing rondom die segmentering van teikengroepe, die keuse van temas en spelers, behoeftes en bekostigbaarheid. Die sleutel tot effektiewe bemarking lê in grondige kennis van die terrein, gekombineer met die strategiese hantering van vraag en aanbod. ’n Gesonde balans tussen sakebeginsels en kreatiwiteit is ten slotte kardinaal, ten einde die Afrikaanse toneel ten volle tot sy reg te laat kom.