The Problem of Theatrical Autonomy: Analysing Theatre as a Social Practice
Autor Quirijn Lennert van den Hoogen, Louise Ejgod Hansen, Joshua Edelmanen Limba Engleză Hardback – 21 noi 2016
As any devoted theatergoer will attest, watching a performance is a unique experience, as the social setting, rules, and standards of theater often combine to create a feeling of liberation from the everyday world. This book explores the phenomenon of theater as simultaneously distinct from and yet connected to society as a whole. Combining theoretical reflections with materials from European case studies, the authors offer intriguing new methods for the sociological study of theater while contributing equally to theater and performance studies.
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Specificații
ISBN-13: 9789462980792
ISBN-10: 9462980799
Pagini: 222
Ilustrații: 7 line drawings
Dimensiuni: 152 x 229 x 18 mm
Greutate: 0.48 kg
Editura: Amsterdam University Press
Colecția Amsterdam University Press
ISBN-10: 9462980799
Pagini: 222
Ilustrații: 7 line drawings
Dimensiuni: 152 x 229 x 18 mm
Greutate: 0.48 kg
Editura: Amsterdam University Press
Colecția Amsterdam University Press
Notă biografică
Joshua Edelman has worked as a research fellow at the Royal Central School of Speech and Drama at the University of London. Louise Ejgod Hansen is a researcher in the Department of Dramaturgy and Musicology at Aarhus University. Quirijn van den Hoogen is a lecturer in arts sociology and arts policy at the University of Groningen.
Cuprins
Introduction
1. How can we define autonomy?
1.1. The formula
1.2. The development and nature of specific capital
1.3. Actions of agents in theatre fields: Position-taking
1.4. Agents in theatre fields
1.5. Is theatre different?
1.6. Conclusion
2. The concept of artistic autonomy
2.1. The functional perspective on art
2.2. Dickie, Danto and Becker: Art as an institution
2.3. Actor-Network Theory: Critique of field theory
2.4. Boltanski and Thévenot: Art and value regimes
2.5. Conclusion
3. Autonomy in the contemporary theatre
3.1. Two forms of the argument against theatrical autonomy
3.2. Post-dramatic and immersive theatre
3.3. Verbatim and documentary theatre
3.4. Applied and community theatre
3.5. Commercial theatre and stand-up comedy
3.6. Conclusion
4. How agents in theatre fields make use of claims to autonomy
4.1. Claims to autonomy influence the shape of the theatre field
4.2. Things that autonomy allows agents to do
4.3. Conclusion
5. How theatre organization shapes claims to autonomy
5.1. Funding systems
5.2. Training
5.3. The relationship between production and distribution
5.4. Internationalization
5.5. The relationship between national and regional subsidy
5.6. Conclusion
6. How claims to autonomy serve those outside theatre fields
6.1. Moral betterment and education
6.2. Issues of self-representation
6.3. Economic development
6.4. Social inclusion
6.5. Conclusion
Conclusion
References
About the Authors
Index
1. How can we define autonomy?
1.1. The formula
1.2. The development and nature of specific capital
1.3. Actions of agents in theatre fields: Position-taking
1.4. Agents in theatre fields
1.5. Is theatre different?
1.6. Conclusion
2. The concept of artistic autonomy
2.1. The functional perspective on art
2.2. Dickie, Danto and Becker: Art as an institution
2.3. Actor-Network Theory: Critique of field theory
2.4. Boltanski and Thévenot: Art and value regimes
2.5. Conclusion
3. Autonomy in the contemporary theatre
3.1. Two forms of the argument against theatrical autonomy
3.2. Post-dramatic and immersive theatre
3.3. Verbatim and documentary theatre
3.4. Applied and community theatre
3.5. Commercial theatre and stand-up comedy
3.6. Conclusion
4. How agents in theatre fields make use of claims to autonomy
4.1. Claims to autonomy influence the shape of the theatre field
4.2. Things that autonomy allows agents to do
4.3. Conclusion
5. How theatre organization shapes claims to autonomy
5.1. Funding systems
5.2. Training
5.3. The relationship between production and distribution
5.4. Internationalization
5.5. The relationship between national and regional subsidy
5.6. Conclusion
6. How claims to autonomy serve those outside theatre fields
6.1. Moral betterment and education
6.2. Issues of self-representation
6.3. Economic development
6.4. Social inclusion
6.5. Conclusion
Conclusion
References
About the Authors
Index