Beschreibung:
Cover -- Half Title -- Title -- Copyright -- Contents -- Preface -- Acknowledgements -- PART I: A Blurred Role -- Chapter 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 -- Chapter 2: Public Theatre: Challenges and Responses -- Rising costs, limited compensation -- Increasing own income -- A minority leisure option -- Altered urban demography -- Insufficient coping solutions -- Chapter 3: Production Models: Reps, Groups and Production Houses -- Repertory theatre: Limitations and adjustments -- Repertory companies outlive communism -- Groups: An ethos of innovation -- Transformation dynamics -- Chapter 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 -- Chapter 5: Programming Strategies -- A disorienting abundance -- Prompting name recognition -- Programming in larger templates -- Chapter 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 -- Chapter 7: Finding the Audience, Making the Audience -- Audiences: Limited, elusive and unstable -- Commitment to education -- Outreach strategies -- Communication: Creating own media outlets -- Chapter 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
Commercial theatre is thriving across Europe, 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.