Stage practices in situ
Which creation of value
Bibliographic Data
| ID | 22136013 |
|---|---|
| Authors | Daniel Urrutiaguer (0000-0002-1161-3246, Université Sorbonne Nouvelle, corresponding author) |
| Year | 2022 |
| Volume | 8 |
| Issue | 1 |
| Publication date | 2022-01-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Shagi / Steps (JOURNAL) |
| Journal identifiers | ISSN: 2412-9410 • E-ISSN: 2782-1765 |
| Publisher | The Russian Presidential Academy of National Economy and Public Administration (PUBLISHER) |
| DOI | 10.22394/2412-9410-2022-8-1-27-41 |
| OpenAlex | W4213200274 |
| Language | EN |
| References cited | 3 |
Following the approach of valuation studies, the paper considers three different logical motivations of the ability of stage practices in situ to create recognized value. First, according to aesthetic logic of action and valuation, live shows in situ have enhanced artistic and technical qualities. Traditionally, French professional experts have considered performances out of theatres as secondranked activities. Nevertheless, since the 1990s, we can see a limited shift in their mental representations with institutional recognition of street performances as a way to renew the relationships between the artists, the spaces and their audiences. The second, civic logic, predicates the general interest in the arts in cultural democratisation. From this perspective, performing shows outside of theatres is a way to more directly address the local population. Nevertheless, performances in situ more likely attract the usual theatregoers rather than local neophytes in the arts. The project of cultural democracy is oriented towards a more horizontal interaction between professional artistic skills and the local participants’ cultural references. Expansion of the sociodemographic composition of the audience occurs through participation by the spectators in performances, which offers an opportunity to reconsider the relationships to the environment. Still, while the sociodemographic composition of the audience may be more popular, it is usually specific to these performances with amateurs. The third, logical motivation, based on heritage value, depends on the memorial power of heritage objects. Therefore, it may amplify the aesthetical value of performances in historical spaces. On the other hand, heritage sites program live shows in order to attract visitors and to enhance their brand
In situ · Knowledge management · Statistics · Value creation · Chemistry · Computer Science · Mathematics · Migration and Exile Studies · Geology · Paleontology
| Highly cited | No |
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