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Cover ; The Concept of the New. Framing Production and Value in Contemporary Performing Arts; Table of Contents; Introduction; 1. The New in Social Sciences; 1.1 The New as Unknown: the Notion of Innovation; 1.2 The Production of Innovation and its Temporal Dimension; 1.2.2 Critical Innovation Studies; 1.3 Perspectives from Sociology of Art; 2. The New in the Humanities; 2.1 Difference and Obscurity: The Notion of the New; 2.2 The Production of Difference and the New; 2.2.1 The Time of the New; 2.2.2 The Spaces of the New; 2.3 Duration and Value; 2.3.1 The Problem of Value.
3. The Present Time and the New3.1 Some Notes on the Avant-garde; 3.2 Postmodernism and the Future; 3.3 The Affirmation of Creativity; 3.3.1 The Critique to Creativity and its Limits; 4. On the Traces of the New at the Theatre; 4.1 Theatre across Reality and Fiction; 4.2 The Institutional Critique yet to Come; 4.3 Open Conclusions on Theory and Practice: Where to Start; 5. Empirical Research on the New: Methodology; 5.1 Balancing Theory and Empirical research; 5.2 Objectives and Research Questions; 5.3 Sampling and Data Collection; 5.4 Data Analysis.
6. The Concept of the New in the Theatre of the Present6.1 The Concept of the New in Practice; 6.1.1 The Difference of the New; 6.1.2 The New as Incomplete; 6.1.3 Eternity and Ephemerality; 6.2 From the Concept of the New to its Production; 6.2.1 A Coexistence of Differences; 6.2.2 Suspension and Self-betrayal; 6.3 The Theatre System and its Value(s); 6.3.1 System Reproduction and Disorganisation; 6.4 Art and Politics: Values and Roles; 7. The Production of the New in the Theatre of the Present; 7.1 Art Institutions as Frames; 7.2 The Collective Cultivation of Difference.
7.3 Curating Obscurity7.4 Roles and Rules: Impossible Possibilia; 7.5 Works in Progress and Failure; 7.6 Theatre Production in the Meantime; Conclusions; Reference List; Appendix I; Appendix II; Appendix III; Acknowledgements; Index.
3. The Present Time and the New3.1 Some Notes on the Avant-garde; 3.2 Postmodernism and the Future; 3.3 The Affirmation of Creativity; 3.3.1 The Critique to Creativity and its Limits; 4. On the Traces of the New at the Theatre; 4.1 Theatre across Reality and Fiction; 4.2 The Institutional Critique yet to Come; 4.3 Open Conclusions on Theory and Practice: Where to Start; 5. Empirical Research on the New: Methodology; 5.1 Balancing Theory and Empirical research; 5.2 Objectives and Research Questions; 5.3 Sampling and Data Collection; 5.4 Data Analysis.
6. The Concept of the New in the Theatre of the Present6.1 The Concept of the New in Practice; 6.1.1 The Difference of the New; 6.1.2 The New as Incomplete; 6.1.3 Eternity and Ephemerality; 6.2 From the Concept of the New to its Production; 6.2.1 A Coexistence of Differences; 6.2.2 Suspension and Self-betrayal; 6.3 The Theatre System and its Value(s); 6.3.1 System Reproduction and Disorganisation; 6.4 Art and Politics: Values and Roles; 7. The Production of the New in the Theatre of the Present; 7.1 Art Institutions as Frames; 7.2 The Collective Cultivation of Difference.
7.3 Curating Obscurity7.4 Roles and Rules: Impossible Possibilia; 7.5 Works in Progress and Failure; 7.6 Theatre Production in the Meantime; Conclusions; Reference List; Appendix I; Appendix II; Appendix III; Acknowledgements; Index.