Making ends meet on the minimum wage of 1,050 euros has become increasingly tough, especially as prices rise. Imagine earning 12,000 euros gross per year and trying to cover basic needs. This is the daily reality for a large share of actors in the country, a situation highlighted by AISGE Foundation’s socio-labor research presented this week. The data paints a disappointing picture for the sector. When compared with the last report from 2016, only 8.17 percent were earning a living from their art. This year, the share of people receiving more than 30,000 euros annually also declined by 1.17 percentage points.
These figures hit hard for anyone with doors open to cinema, TV series, and theater, and for those trying to devote themselves fully to this craft. Almost half of the surveyed participants, 48 percent, earn less than 3,000 euros a year, versus 68 percent in 2016. Only 23 percent exceed the gross monthly threshold of 1,000 euros, compared with 17 percent in 2016. Yet the surface improvement masks a real squeeze in purchasing power: seven years ago 12,000 euros had the buying power of 9,926 euros today due to ongoing price increases. Emilio Gutierrez Caba, president of AISGE, stresses that the aim is not to alarm but to bring industry realities closer to society: there is still a long path ahead, and making a living in the arts remains exceptionally difficult in Spain.
So many voices feel the strain: 44 percent of participants live below the poverty line, earning amounts close to the national average and projected to reach 20.4 percent in 2022. Consequently, 52 percent of artists reported needing a second source of income, a share that has risen from 46 percent in the past. It stands out that three quarters of participants do not return to acting work, highlighting an ongoing challenge in sustaining a career in the arts.
There is no room for women
When gender gaps are examined, women bear a heavier burden. Their earnings are lower despite women in the sector receiving 40.3 percent more in pay for work of the same nature, the data reveals. Within women’s group, 29 percent earn less than 600 euros a year, versus 21 percent of men. As a result, many women take on a second job, 54 percent compared with 49 percent for men. The reasons behind this disparity are not entirely clear, but AISGE suggests that fewer acting roles for women and responsibilities linked to motherhood and childcare contribute to the imbalance.
The annual workdays reflect the gap: the average for women is 70 days, while men average 62 days. A sizable portion of women did not work at all in 2021, 17 percent, compared to 12 percent for men. Those who did work, many completed two weeks or less, 27 percent for women versus 22 percent for men. Abel Martín Villajero, the report’s general manager, calls this one of the saddest findings: a wage gap exists not because pay rules differ, but because women work fewer hours, resulting in lower remuneration.
The report also addresses sexual harassment in the industry. These issues have gained attention after recent complaints against directors, yet the discussion remains cautious and not fully open. There is broad agreement on acknowledging the problem, and AISGE offers firm support to victims, urging them to report abuses and protect dignity.
Artificial intelligence threat
A new concern centers on the rise of artificial intelligence and its potential impact on artistic work and the broader audiovisual model. About 84 percent of respondents view AI as a threat. Voices and other performance resources are already feeling pressure, while those in visual performance sectors sense AI’s approach more gradually. The effects in dance and theater appear slower to manifest.
From the foundation’s perspective, the path forward lies in finding a balance between culture and technology. As Martín Villajero states, solutions should ensure that culture and technology can coexist without undermining creative livelihoods. Protecting intellectual property rights through robust collective management is also emphasized.
Most representative study
The AISGE Foundation’s quarterly study, now in its fourth edition, updates earlier work conducted in 2004, 2011, and 2016, with a 2020 study added to measure the pandemic’s ongoing impact on artist collectives.
Information for the study comes from diverse sources: an online survey, 3,410 participants (with a substantial share associated with AISGE), six discussion groups across multiple cities, and input from various documents and analyses compiled by AISGE on collection, distribution, and sector status. The findings are meant to illuminate living conditions across cinema, television, theater, and allied arts, and to guide policy and industry dialogue.
These insights reflect the lived experience of a broad spectrum of artists, from performers to technicians, illustrating a sector that continues to struggle with income stability while facing rapid technological changes and evolving audience expectations. The AISGE Foundation remains committed to supporting artists through advocacy, education, and practical measures that protect fair earnings and creative integrity.