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Reinventing the non-profit theatre : a study of the growth of educational work in British non-profit theatres from the 1990s to the present

机译:重塑非营利性剧院:对20世纪90年代至今英国非营利性剧院教育工作发展的研究

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摘要

This thesis examines why non-profit theatres in Britain have become increasingly involved in educational work since the 1990s, from an historical and institutional perspective. With an assumption that this sector-wide organisational change has been caused by a shift in institutional environments of the arts sector, the thesis proposes an institutional framework, where three different institutional logics - artworld, market and policy - coexist and tend to dominate the institutional context at different times. Using this theoretical framework, the thesis demonstrates that arts policy and management during the post-war period were shaped by the artworld logic. However, the two decades since 1979 have seen the environments become complicated because the institutional logics of the market and policy gained currency. Criticising the limitation of marketisation theory that has so far dominated most analyses of recent cultural policy, the thesis sheds light on the fact that active intervention by the state has replaced the arm’s length principle and the arts - especially arts education and participatory arts activities - are increasingly used for explicit social policy objectives. This phenomenon is defined as ‘politicisation’ of the arts. The rapid growth of educational work since the 1990s is conceptualised as an organisational adaptation of theatres to such environments. The case study of four English theatres demonstrates that although the theatres have expanded education under unprecedented political pressure, they also try to implicitly resist external intervention and to maximise autonomy. This implies that politicisation is a complicated process of institutional change: whilst new rules, norms and expectations have been developed under the policy logic, the sector’s romantic view of the arts has been reformulated and old ways of working have persisted. Thus, the recent institutional change in the non-profit arts sector is better understood as an integration of different institutional logics, not as colonisation of the arts world by the market or politics. In these dynamics environments, the non-profit theatre can reinvent itself as a creative educator and social impact generator without fundamental transformation in its artistic and management sides.
机译:本文从历史和制度的角度探讨了为什么自1990年代以来英国的非营利性剧院越来越多地参与教育工作。假定这种整个行业范围的组织变革是由艺术行业的制度环境的变化引起的,本文提出了一种制度框架,其中三种不同的制度逻辑(艺术世界,市场和政策)共存并趋于主导制度上下文在不同的时间。利用这一理论框架,论文证明了战后时期的艺术政策和管理受到艺术世界逻辑的影响。但是,自1979年以来的二十年中,环境变得复杂,因为市场和政策的制度逻辑日益流行。批评了市场化理论的局限性,迄今为止,市场化理论一直主导着对近期文化政策的大多数分析,该论文揭示了一个事实,即国家的积极干预已经取代了公平原则,而艺术-尤其是艺术教育和参与性艺术活动-成为了现实。越来越多地用于明确的社会政策目标。这种现象被定义为艺术的“政治化”。自1990年代以来,教育工作的快速增长被概念化为剧院对这种环境的组织适应。对四个英国剧院的案例研究表明,尽管剧院在前所未有的政治压力下扩大了教育范围,但它们也试图隐式抵制外部干预并最大程度地提高自主权。这意味着政治化是一个复杂的制度变迁过程:尽管在政策逻辑下已经制定了新的规则,规范和期望,但该行业对艺术的浪漫看法已经重新制定,并且旧的工作方式仍然存在。因此,人们最好将非营利性艺术领域的近期制度变迁理解为不同制度逻辑的整合,而不是市场或政治对艺术世界的殖民化。在这些动态的环境中,非营利性剧院可以在不对其艺术和管理方面进行根本性转变的情况下,将自己重新塑造为一个创造性的教育者和社会影响力产生者。

著录项

  • 作者

    Lee Hye-Kyung;

  • 作者单位
  • 年度 2003
  • 总页数
  • 原文格式 PDF
  • 正文语种 English
  • 中图分类

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