The late 1960s witnessed the emergence of theatre groups with ideological leanings. They sought to bring the theatre to new audiences - children, the rural population and the working class. Now they have a permanency, with their own theatres, frequently in premises that are indistinguishable from the buildings around them. In the 1980s, young people abandoned their ideologies and demanded reform of theatrical expression. Many of the new groups set up in answer to this call have been short-lived, often created around a single production.
Actors come and go, and the line between professionals and amateurs is drawn in water.
B y international standards, Finnish theatre is heavily subsidised. A parallel could be drawn with Germany, where theatres have a similar cultural standing and mission. Fully commercially run theatres are virtually unknown. Because of this support, ticket prices are low and theatres accessible to the general public. Large blocks of tickets are often sold to groups of people who travel long distances to the theatre in hired buses which virtually encircle the building while the performance goes on inside.