Resetting the Stage
Public Theatre between the Market and Democracy
Distributed for Intellect Ltd
190 pages
|
12 halftones
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7 x 9
|
© 2012
- Contents
Table of Contents
Contents
Preface
Acknowledgements
Part I: A Blurred Role
1. Public and Commercial Theatre: Distinct and Enmeshed
The ensemble model
Public subsidies ensure cultural respectability
Crisis—a permanent condition or a discursive image?
A thriving commercial theatre
The specific merits of public theatre
2. Public Theatre: Challenges and Responses
Rising costs, limited compensation
Increasing own income
A minority leisure option
Altered urban demography
Insufficient coping solutions
3. Production Models: Reps, Groups and Production Houses
Repertory theatre: Limitations and adjustments
Repertory companies outlive communism
Groups: An ethos of innovation
Transformation dynamics
4. The Specific Offer of Public Theatre
Making sense of classical drama
Stimulating new playwriting
Post-dramatic theatre
Opera and music theatre: Confronting elitism
Varieties of dance
Theatre for children and young people
Other theatre forms
Part II: Asserting Own Distinction
5. Programming Strategies
A disorienting abundance
Prompting name recognition
Programming in larger templates
6. A Sense of Place
Failed reforms, some accomplishments
A matter of context
Space markers
Big or small?
Newly built or recycled?
Away from the theatre
7. Finding the Audience, Making the Audience
Audiences: Limited, elusive and unstable
Commitment to education
Outreach strategies
Communication: Creating own media outlets
8. Theatre in a Globalised World
The changing role of festivals
International cooperation in the performing arts
An emerging European cultural space
Trans-European vistas
An antidote to complacency
9. Leadership, Governance and Cultural Policy
Leadership: Fantasies of a cultural Superman
Governance matters: Boards safeguarding autonomy
Minima moralia for a public theatre system
Funding: Decision-makers and their criteria
Public theatre and public culture
In Place of an Epilogue: The Prospects for Public Theatre in Europe
Sources
About the Author
Afterword
Acknowledgements
Part I: A Blurred Role
1. Public and Commercial Theatre: Distinct and Enmeshed
The ensemble model
Public subsidies ensure cultural respectability
Crisis—a permanent condition or a discursive image?
A thriving commercial theatre
The specific merits of public theatre
2. Public Theatre: Challenges and Responses
Rising costs, limited compensation
Increasing own income
A minority leisure option
Altered urban demography
Insufficient coping solutions
3. Production Models: Reps, Groups and Production Houses
Repertory theatre: Limitations and adjustments
Repertory companies outlive communism
Groups: An ethos of innovation
Transformation dynamics
4. The Specific Offer of Public Theatre
Making sense of classical drama
Stimulating new playwriting
Post-dramatic theatre
Opera and music theatre: Confronting elitism
Varieties of dance
Theatre for children and young people
Other theatre forms
Part II: Asserting Own Distinction
5. Programming Strategies
A disorienting abundance
Prompting name recognition
Programming in larger templates
6. A Sense of Place
Failed reforms, some accomplishments
A matter of context
Space markers
Big or small?
Newly built or recycled?
Away from the theatre
7. Finding the Audience, Making the Audience
Audiences: Limited, elusive and unstable
Commitment to education
Outreach strategies
Communication: Creating own media outlets
8. Theatre in a Globalised World
The changing role of festivals
International cooperation in the performing arts
An emerging European cultural space
Trans-European vistas
An antidote to complacency
9. Leadership, Governance and Cultural Policy
Leadership: Fantasies of a cultural Superman
Governance matters: Boards safeguarding autonomy
Minima moralia for a public theatre system
Funding: Decision-makers and their criteria
Public theatre and public culture
In Place of an Epilogue: The Prospects for Public Theatre in Europe
Sources
About the Author
Afterword
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