Political homophily in cultural reputational networks

Shakespeare, national memory, and tourist place: Gyula's Várszínház Festival

“…Scholars describe an intensification of longstanding political divisiveness among artists as Fidesz has attempted to impose on the cultural sector a 'post-communist traditionalism'. 49 Critics argue that the government has advanced such attitudes by influencing artsfunding decisions, placing partisan allies in strategic positions at cultural institutions, and by strengthening institutions sympathetic to the government's priorities. 50 Shakespearean theatre in Hungary has reflected this situation, though not always in a straightforward manner.…”

“…52 Such imprecise political commentary might result from publicly funded practitioners' wariness about explicitly criticising the government upon which they rely financially, though explicit political affiliations can provide many Hungarian artists with 'material and symbolic resources' that help them advance their careers. 53 It is likely that the political imprecision is related to changing performance styles that do not lend themselves to straightforward interpretation. Text-centred, psychologically realistic Shakespearean theatre still has its place in Hungary, 54 though changes have occurred.…”

“…Scholars describe how Fidesz has pushed initiatives that reflect an attitude of 'post-communist traditionalism'. 2 This 'traditionalism' valorises '"patria, church, and the (traditional) family"' and includes 'anti-immigration' sentiment. 3 If those sympathetic to these sentiments might regard Gyula as a place that uses its tourist attractions to celebrate traditional national culture, the Várszínház complicates any such sense of place by hosting challenging Shakespearean performances that often portray national crises and relationships between political rulers and the ruled with profound pessimism.…”