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How to Study Art Worlds
Hans van Maanen is professor of art and society at the Department of Arts, Culture & Media Studies of the University of Groningen, the Netherlands.
Representing the Past
"Representing the Past is required reading for any serious scholar of theatre and performance historiography: original in its conception, global in its reach, thought-provoking and transformative in its effects."---Gay Gibson Cima, author, Early American Women Crities: Performance, Religion, Race --
2012
Particularly in the humanities and social sciences, festschrifts are a popular forum for discussion. The IJBF provides quick and easy general access to these important resources for scholars and students. The festschrifts are located in state and regional libraries and their bibliographic details are recorded. Since 1983, more than 659,000 articles from more than 30,500 festschrifts, published between 1977 and 2011, have been catalogued.
The Social Organization of Arts
In recent decades, social and economic changes have brought about a growing awareness of the role of art and culture in society. As a result, scholars have turned their attention to a sociological view of arts, developing hermeneutic approaches and conducting empirical research that have led to a wealth of insights into the organization of arts. These studies of the creation, production, distribution, evaluation and consumption of arts are clearly sociological, but they include approaches from other disciplines, notably arts management studies and cultural policy research. Volker Kirchberg and Tasos Zembylas critically discuss seven major theories of the social organization of arts in Western societies, with the aim of encouraging further research and theoretical developments.
The Dramatic Society
All societies are, by their very nature, dramatic. They present themselves, especially for those who want to look back in time, as a fascinating and confusing whole of theatrical events and constructions. Sometimes the theatre itself succeeds in capturing that fascination and confusion. This book describes the dramatic society in the form of case studies that link politics, history and culture. The Dramatic Society uses selected plays to examine specific moments in history. Its range of subjects are extremely diverse, including Medea as an icon of terrorism, a choreography based upon Shakespeare’s As You Like It, horror movies about the German unification, a truth commission dealing with "...
Art Management
In the 21st century, there is an enormous need for a basic knowledge of management in the cultural sector. This publication fills the gap between general management theory and cultural praxis. It offers information on the global dimension of art management, digitization of culture, strategy formation in the cultural sector, the structure of a cultural organization, cultural leadership. Casestudies are presented from different parts of the world, rooted in local resources but from a global perspective.
Fear of Theory
Listen to the podcast here. Recent academic historiography has seen a profusion of theoretical perspectives on biography, both analytical and descriptive. Yet many biographers still fear ‘theory’ as antithetical to accessible narration of real lives. This volume presents eighteen essays by more than a dozen scholars and practitioners from Australia, Belgium, Germany, Great Britain, Holland, Hungary, Iceland, and the United States who seek to banish such fear. Writing with candor, wide experience and familiarity with modern teaching, they examine the riches greeting the biographer willing to think more deeply about biography: its inner workings and rationale in a world still hungry for fact and truth. Contributors are: Nigel Hamilton, Sigurður Gylfi Magnússon, Emma McEwin, Melanie Nolan, Kerstin Maria Pahl, Eric Palmen, Hans Renders, Carl Rollyson, David T. Roth, István M. Szijártó, Jeffrey Tyssens, and David Veltman. See inside the book.
Theatrical Events
Theatrical Events. Borders, Dynamics and Frames is written to develop the concept of ‘Eventness’ in Theatre Studies. The book as a whole stresses the importance of understanding theatre performances as aesthetic-communicative encounters of a wide range of agents and aspects. The Theatrical Event concept means not only that performers and spectators meet, but also that the specific mental sets, backgrounds and cultural contexts they bring in, strongly contribute to the character of a particular event. Moreover, this concept gives space to the study of the role societal developments – such as technological, political, economical or educational ones – play in theatrical events.
Festivalising!
Throughout the world festivals are growing – in numbers, in size, in significance – and serve as spaces where aesthetic encounters, religious and political celebrations, economic investments and public entertainment can take place. In this sense, festivals are theatrical events. This volume contains discussions of 14 diverse festival events from five continents across the globe, written by members of the IFTR/FIRT Working Group on the Theatrical Event, the same group that has produced the ground-breaking study Theatrical Events – Borders Dynamics Frames in 2004 (also published by Rodopi). The events discussed here range from traditional carnivals and festivals to more controversial theatre, dance and opera festivals, children’s festivals and community events, as well as saints’ and workers’ festivities. All of these constitute part of the local playing cultures and take on significant political roles, nationally and regionally. The authors explore and extend the theoretical frames of reference for any contemporary discussion of theatrical events and festivals, in order to provide a new and fresh perspective on past and present festival culture across the globe.
Theatre, Social Media, and Meaning Making
This book offers the first broad-based survey of the way artists, audiences and society at large are making use of social media, and how the emergence of social media platforms that allow two-way interaction between these groups has been held up as a ‘game changer’ by many in the theatre industry. The first book to analyse aesthetic, critical, audience development, marketing and assessment uptake of social media in the theatre industry in an integrated fashion, Theatre, Social Media and Meaning Making examines examples from the USA, UK, Europe and Australasia to provide a snapshot of this emerging niche within networked, telematic, immersive and participatory theatre production and reception practices. A vital new resource for the field, this book will appeal to scholars, students, and industry practitioners alike.
