| Popis: |
My dissertation, a multiple case study with auto-ethnographic aspects, investigates, examines and analyzes how two modern theatre companies are able to successfully produce controversial work in an atmosphere where theatres are pressured into discontinuing that type of work. I studied the Studio Theatre in Washington, DC and the Oval House Theatre in London, England, so readers could have a look at two theatre companies with different, but still controversial work and to be able to see the differences between a producing company and a presenting company. I specifically look at the role of artistic vision, finance, development and fundraising, and marketing and public relations to discover how these companies succeed where others have so often failed.My study begins with research showing that although there is an abundance of material written about controversial theatre and censorship, these studies look at why theatre companies are discontinuing the production of controversial work. My study also raises interesting questions concerning research methods where controversial subjects are covered, but confidentiality is not possible in any real terms. Rather than provide a purely standard multiple case study, I examine my own experiences within the theatre in general and at both the Studio Theatre and Oval House Theatre. These autoethnographic connections provide not only insight into my motivations, but a more personal look at the work of both theatre companies. I then discuss the anti-theatrical prejudice that has been with us since Greek times with Plato and follow that thinking to modern times. Here, I cover commercial, nonprofit, government sponsored and public funded theatre and the role of organizational management. I then provide current examples of controversial work at the end of the twentieth century and beginning the twenty-first century where theatrical productions have either been censored or major efforts were made to censor the work. The main focus of the study is the research concerning Studio Theatre and Oval House Theatre. Both companies are located in major, world capitals. Both companies are involved with controversial work in different ways. I found the success of both theatre companies has depended on a strong artistic vision where finances, development and fundraising and marketing and public relations are used to serve the needs of the artistic vision instead of the artistic vision being defined by the ideas put forth in these areas. Even though both companies are successful, I provide for recommendations on how they can make their organizations stronger so they can continue their work. |
