2020 was a year in which global politics radically shifted, catalyzed by the Covid-19 pandemic and the #BlackLivesMatter movement.

This book is a response to that year, asking: was it a moment or is it a movement, and what fundamental changes within the arts industry need to come out of this time?

The book includes over 20 interviews with some of the most pioneering Black cultural leaders from a wide range of senior executive positions in the arts within the UK, Europe, US and Africa.

It documents the sea of change in arts leadership at the height of the #BlackLivesMatter movement, the pressure on organizations to confront and change their racial and ethnic make-up, and shines a light on the guiding ambitions, strategic plans and visions for the future to support the ongoing decolonization of arts organizations across the world.

With this 2nd edition of our brochure, we are adapting the representation of the independent performing arts sector and expanding it to 13 countries in Europe. Our plan is to continue this research and provide updated information every two years. EAIPA seek to continuously provide information about the sector, focusing on those who invent, develop, realize and present the art form: artists and art professionals. We are also interested in whether and how the pandemic will affect their livelihoods, and whether policymakers and funders will use the attention and discourse to rethink and adjust policies as well as focus on better conditions for artists and arts practitioners.

Every day, in dance studios all across America, millions of little girls line up at the barre and take ballet class. Their time in the studio shapes their lives, instilling lessons about gender, power, the value of their bodies and minds, and their place in the world both in and outside of dance. In Turning Pointe, journalist Chloe Angyal captures the intense love for ballet that so many dancers feel, while also grappling with its shortcomings: the power imbalance of an art form performed mostly by women, but dominated by male choreographers and ballet masters, the impossible standards of beauty and thinness, and the racism that pervades ballet. A new generation of dancers is confronting these issues head on. If ballet is going to survive the 21st century and forge a path into a more socially just future, this reckoning is essential.

Quo vadis Europa? And where are the independant performing arts heading? Driven by values such as tolerance and openness, what power do the independent performing arts possess in a climate dominated by Euroscepticism? Are those values essential for Europe and if so, how can they be strengthened?

These were the questions focussed on at the IETM's Plenary Meeting Munich (International Network for Comtemporary Performing Arts) which is documented in this bi-lingual book. Central to the reflexions around the role of the performing arts in Europe were the topics "Post-colonialism", "Diversity" and "Visions for the Future". Including contributions by Ulrike Guérot, Robert Menasse and Kathrin Röggla.

 

 

Quo vadis Europa? Wohin die freie Szene? Welche Tragkraft haben in einem von Euroskepsis geprägten Klima die unabhängigen darstellenden Künste, deren Arbeitsbegriff sich auf Werte wie Toleranz und Offenheit stützt? Sind diese Werte konstituierend für Europa, wie können sie gestärkt werden? Diese Fragen stehen im Mittelpunkt des Treffens des International Network for Contemporary  Performing Arts (IETM) in München, das in diesem zweisprachigen Buch dokumentiert wird. Im Zentrum der Reflexionen rund um die Rolle der darstellenden Kunst in Europa stehen  Postkolonialismus, Diversität sowie Visionen für die Zukunft. Mit Beiträgen von Ulrike Guérot, Robert Menasse und Kathrin Röggla.

Are artists seismographs during processes of transformation? Is theatre a mirror of society? And how does it influence society offstage? To address these questions, this collection brings together analyses of cultural policy in post-apartheid South Africa and actors of the performing arts discussing political theatre and cultural activism. Case studies grant inside views of the State Theatre in Pretoria, the Market Theatre in Johannesburg and the Baxter Theatre in Cape Town, followed by a documentation of panel discussions on the Soweto Theatre. The texts collected here bring to the surface new faces and voices who advance the performing arts with their images and lexicons revolving around topics such as patriarchy, femicide and xenophobia.

Audiences are not what they used to be. Munching crisps or snapping selfies, chatting loudly or charging phones onstage - bad behaviour in theatre is apparently on the rise. And lately some spectators have begun to fight back... The Reasonable Audience explores the recent trend of `theatre etiquette': an audience-led crusade to bring `manners and respect' back to the auditorium. This comes at a time when, around the world, arts institutions are working to balance the traditional pleasures of receptive quietness with the need to foster more inclusive experiences. Through investigating the rhetorics of morality underpinning both sides of the argument, this book examines how models of 'good' and 'bad' spectatorship are constructed and legitimised. Is theatre etiquette actually snobbish? Are audiences really more selfish? Who gets to decide what counts as `reasonable' within public space?Using theatre etiquette to explore wider issues of social participation, cultural exclusion, and the politics of identity, Kirsty Sedgman asks what it means to police the behaviour of others.

There is a wealth of resources available, both online and offline, to inform, advise and support artists and cultural professionals on how to pursue their careers without neglecting their role as individuals, parents, partners and citizens, and on how to reflect their (artistic) values. Harder to find, though, is ones path among all those resources. For this reason, this book answers the most frequently asked questions by professionals in the sector and gathered comprehensive replies in an accessible language, based on sound theoretical knowledge combined with practical experience of the field.

Engaging Stages is a hands-on guide for theatre makers and creative leaders to inform and inspire about strategic approaches to public engagement. Published by the Theatron Engaging Stages Network Europe, it contains 30 contributions and case studies from 17 leading performing arts organisations in 10 European countries. The book provides 30 answers to 6 key questions: What is an Engaging Stage and Why Should We Become One? Inspirations for Creating & Staging Engaging Productions - How to Connect to Our Communities On and Off Stage - More Than 'Just' Culture: Actively Engaging in Public Life - New Tools for Engagement - The Need for Change: A Bigger Picture. The 220-page book includes contributions from: Aarhus Teater (DK) - Bunker (SI) - deSingel International Arts Campus (BE) - Det Norske Teatret (NO) - HELLERAU European Center for the Arts Dresden (DE) - Nationaltheater Mannheim (DE) - National Theatre Wales (UK) - Royal Danish Theatre (DK) - Sadler's Wells (UK) - Sheffield Theatres (UK) - Staatsschauspiel Dresden (DE) - ThEAtre de Gennevilliers (FR) - Theatro Municipal do Porto (PT) - Toneelhuis Antwerp (BE) - Trafo (HU) - TR Warszawa (PL) - Young Vic Theatre (UK)

Performing arts centers (PACs) are an integral part of the cultural and creative industries, significantly influencing the cultural, social, and economic vitality of communities around the world. Virtually all PACs are community-based and serve the public interest, whether structured as a public, nonprofit, for-profit, or hybrid entity. However, there is a lack of knowledge about the important community role of performing arts centers, especially those that mainly host and present work produced by other arts organizations. This gap is startling, given the ubiquitous presence of PACs in urban centers, small communities, as well as colleges and universities.

This co-edited reference book provides valuable information at the intersection of theory and practice in the professional field of executive leadership of performing arts centers. Drawing on the expertise of leading academics, consultants, and executives, this book focuses on institutions and practices in the United States, and is contextualized within additional fields such as cultural planning, urban revitalization, and economic development.

Performing Arts Center Management aims to provide valuable theoretical, conceptual, empirical, and practice-based information to current and future leaders in creative and cultural industries management. It serves as a unique reference for researchers, university students, civic leaders, urban planners, public venue managers, and arts administrators aspiring to improve or advance their work in successfully managing performing arts centers.

Over the past twenty years, European theater has undergone fundamental changes in terms of aesthetic focus, institutional structure, and place in society. The impetus for these developments came from a new generation. This book brings together studies on the state of independent theater in different European countries, focusing on dance and performance, children and youth theater, theater and migration, and post-migrant theater. Additionally, the book features essays on experimental musical theater and different cultural policies for independent theater scenes in a range of European countries.

Series: Theatre Studies
Paperback: 500 pages

Commercial theater is thriving across Europe and the UK, while public theatre has suffered under changing patterns of cultural consumption - as well as sharp reductions in government subsidies for the arts. At a time when the rationale behind these subsidies is being widely reexamined, it has never been more important for public theatre to demonstrate its continued merit. In "Resetting the Stage", Dragan Klaic argues convincingly that, in an increasingly crowded market of cultural goods, public theatre is best served not by imitating its much larger commercial counterpart, but by asserting its artistic distinctiveness and the considerable benefit this confers on the public.

Updated in its 10th edition, Stage Management offers readers a practical manual on how to stage manage in all theatre environments. Revered as the authoritative resource for stage management, this text is rich with practical resources, including checklists, diagrams, examples, forms and step-by-step directions. Stage Management eschews excessive discussion of philosophy and gets right to the essential materials and processes of putting on a production. In addition to sharing his own expertise, Stern has gathered practical advice from working stage managers of Broadway, off-Broadway, touring companies, regional, community, and 99-seat Equity waiver theaters.

This is the indispensable career guide for anyone interested in the theatre: the complete A to Z culled from industry expert Jim Volz's experience and interviews with many voices in the theatre community. This guide is your first port of call from how to get your foot in the door to where, when and how to advance your career. In addition to advice, inspiration and strategies for all working practitioners, not just actors, it also features extensive listings and directories for regional companies, commercial theatre, festivals, touring companies, university theatres and childrens productions.

Originally published as BACKSTAGE GUIDE TO REGIONAL THEATRE in limited release, this book has been completely updated and broadened in scope with 25% entirely new material added to create WORKING IN AMERICAN THEATRE.

About the Author

JIM VOLZ has produced over 100 professional productions and published more than 100 articles and three books. He is a theatre critic/columnist for Back Stage Magazine, editor of the Shakespeare publication, quarto, and a Professor at California State University, Fullerton. He is a Ph.D. graduate from the University of Colorado, Boulder, and former Managing Director of the Alabama Shakespeare Festival.

Diva, Prima Donna, Maestro, Virtuoso: creative geniuses with the ability to deliver artistic excellence. However this perception can serve to tilt the balance of power in relationships and to substantiate the notion of artistic temperament; the Master is always right and the Diva must have her way. The artistic genius may be hell to work with but the end result (the art) is exceptional, so behaviour deemed unacceptable in normal circumstances must be tolerated. If the corporate culture in the arts is in thrall to the concept of the artistic genius, then across the various disciplines within the creative sector the prevailing mentality may be subscribing to a set of values that allows, even directly encourages, behaviour and employment conditions that are abusive. Bullying in the Arts argues that this mindset can have a profoundly negative effect in performing arts organisations, permitting managers and other staff to ignore bullying behaviour, as long as the show goes on. Researchers in a range of disciplines and fields have studied workplace bullying and, having witnessed bullying in a number of different arts organisations, Anne-Marie Quigg researched whether the behaviour represented isolated, rare occurrences in specific creative environments or if it was indicative of a more widespread problem in the arts and cultural sector. She discovered the highest level of bullying recorded in any single employment sector in the UK. Bullying in the Arts reveals Dr Quigg's findings, including the personal, organisational, legal and economic consequences of bullying behaviour. Looking at the experiences of countries such as Australia, Canada, France, Sweden, and the United States, this book challenges the notion that the arts are beyond the limitations of the ordinary milieu, exempt from the rules and regulations governing the treatment of employees. Arts managers and professionals, teachers, students and researchers in the arts world, and all those in management or management education, will find here a new model centred on management responses to bullying behaviour, which demonstrates the beneficial effect that knowledgeable, skilled action can have on the outcome of bullying incidents. Hardcover, 272 pages

State on Stage tunes in on the relationship between governments and performing arts in European countries over the past fifteen years. In order to survive, performing arts organizations in Europe must adapt to ongoing changes in the artistic, commercial and political climate. Although maximizing market revenues has become business as usual for companies and venues, most still require substantial involvement from the government.

Governments, at their turn, expect more economic, educational or social tasks next to the artistic occupations before funding. This book shows how performing arts professionals manage to combine commercial entrepreneurship with the political skills needed to operate in a government environment.

State on stage offers both a pan-European overview and national portraits of fifteen EU member states, depicting a lively, dynamic performing arts scene, prospering in the new millennium. It also reveals what's happening behind the scenes: oversupply, with thousands of performing artists unable to find proper jobs, seeking additional income elsewhere. Despite the generosity of governments at all levels, public money comes either in insufficient quantities, or is spent inefficiently.

This book describes the hopes and dreams that keep performing artists motivated under these difficult conditions. It contains inspiring literature, essential recommendations and new perspectives for everyone involved in this field: artists, managers, scholars, policy makers and politicians active in Europe and across its borders.

Authors: Hans Onno van den Berg, Lluís Bonet, Vesna opi, Costis Dallas, Christian Esch, Rod Fisher, Rui Telmo Gomes, Ineke van Hamersveld, Sofia Karagianni, Hans van Maanen, Emmanuel Négrier, Georgia Papadopoulu, Lyudmila Petrova, Annick Schramme, Riitta Seppälä, Katia Segers, Cas Smithuijsen, Barbara Stüwe-Eßl, Corina uteu, Szabó János Zoltán, Margaret Tali, Ana Villarroya and Joris Vermeulen.

Booking Performance Tours is the quintessential guide for anyone involved in the touring of live arts and entertainmentas a producer, artist, presenter, agent, manager, or attorney. Industry insider Tony Micocci shares keen insights on:

Relationships among producers, agents, managers, and presenters
Negotiating styles
Taxation
Technology
Ethics in professional dealings
Booking strategies
Nonprofit versus commercial touring
Special considerations for booking Broadway and popular music
International touring
External factors affecting the field

Booking Performance Tours includes nearly 100 pages of appendixes containing engagement contracts, technical riders, deal memos, and representation contracts, with extensive point-by-point analyses of all provisions. This book is destined to become the classic reference for the industry.

Examining the influence of philanthropists on the American theater

Angels in the American Theater: Patrons, Patronage, and Philanthropy examines the significant roles that theater patrons have played in shaping and developing theater in the United States. Because box office income rarely covers the cost of production, other sources are vital. Angelsfinancial investors and backershave a tremendous impact on what happens on stage, often determining with the power and influence of their money what is conceived, produced, and performed. But in spite of their influence, very little has been written about these philanthropists.



Composed of sixteen essays and fifteen illustrations, Angels in the American Theater explores not only how donors became angels but also their backgrounds, motivations, policies, limitations, support, and successes and failures. Subjects range from millionaires Otto Kahn and the Lewisohn sisters to foundation giants Ford, Rockefeller, Disney, and Clear Channel. The first book to focus on theater philanthropy, Angels in the American Theater employs both a historical and a chronological format and focuses on individual patrons, foundations, and corporations.


Paperback: 320 pages

Publisher: Southern Illinois University; 1.00 edition (February 22, 2007)

ISBN-13: 978-0809327478