Explore
For Enterprise
Join for Free
Log In

艺术与人文
商务
计算机科学
数据科学
信息技术
健康
数学和逻辑
个人发展
物理科学与工程
社会科学
语言学习
学位
证书

浏览 Coursera 的全部课程

浏览
搜索
企业版
登录
免费加入

Theatrical Public Goods

Loading...

剧院和全球化

路德维希马克西米利安慕尼黑大学

4.7（78 个评分） | 4.8K 名学生已注册

Learn how theatre and globalization have affected each other over the past century, and how to conduct your own research on global theatre histories.

查看授课大纲

审阅

4.7（78 个评分）

5 stars
62 ratings
4 stars
13 ratings
3 stars
1 ratings
2 stars
1 ratings
1 star
1 ratings

LO

Apr 28, 2019

Theatre and Globalization should be core module in any Theatre Studies Programme.

GJ

Jun 13, 2018

I LOVED this course! Plans are to visit the university in the near future!

从本节课中

East versus West: Cold War Rivaleries

Theatre and the Cold War; theatre as a site of the rivalry between East and West.

Theatre and the Cold War 1:46

The Iron Theatrical Curtain 2:12

Cultural Diplomacy 4:18

The Stanislawski System 4:05

Interview with Dr. Li Yinan 5:02

Porgy and Bess in the Soviet Union 9:14

Theatrical Public Goods 3:43

The Cost Disease 2:29

Interview with Prof. Stephen Wilmer 7:22

Decolonizing the Stage: Theatrical Interweaving 5:10

教学方

Christopher Balme
Professor

脚本

The Cold War period saw an unprecedented expansion of public funding of the arts,

especially the performing arts.

Theater in the Eastern Bloc was state supported, and often generously so.

At the beginning of the Cold War,

there was little direct government support of theater in the west.

But this was about to change.

If we're looking for global changes, affecting theater in the post-war period,

then the recognition, on the part of governments,

that theater should be subsidized in some way, is one of them.

Although the argument for public funding of the arts, and theater in particular,

well predates the Cold War, a strong case can be made that the almost universal

agreement amongst western governments that theater, at least certain forms of it,

should receive seen state support, was accelerated by Cold War rivalry.

Remember, America had kitchens.

The Soviet Union had the Bolshoi, and the Moscow Art Theater,

as well as the state circus, all of which were directly financed by the state,

and demonstrated a superb degree of excellence.

The Soviet Union had, at one count, 625 subsidized theaters,

a third of them for operetta.

Throughout the 1950s, pressure grew on western governments to fund theater.

The pressure was driven by a double imperative, the recognition of theater

as an art form, as opposed to just entertainment, and as redefinition,

as a kind of public service, available to all at affordable prices.

The latter idea was encapsulated by the French director Jean Vilar

in a famous quote.

The Théâtre National Populaire is, in the first instance, a public service.

Just like gas, water, and electricity.

Vilar was artistic director of the National Popular Theater,

a new state funded theater in Paris.

He had a vision of theater as a public service, or

as the economists say, a public good.

It should enjoy the same status as the provision of gas, water, and electricity.

Although this sounds somewhat strange to our ears,

it was a vision with great prophetic foresight.

By the late 1960s most Western European countries had

publicly subsidized theatrical institutions.

Germany had already completed its transition under the Nazis.

France expanded after 1960 its network of public theaters, or Maisons de la Culture.

Italy established a, a number of municipal theaters, so-called Teatri Stabili,

the first being Giorgio Strehler Piccolo Teatro in Milan.

Even Great Britain, the home of commercial theater, formally established,

albeit with great reluctance, two flagship state subsidized theaters,

The Royal Shakespeare Company, and the National Theater.

In the Netherlands we find also,

the establishment of a state subsidized repertory system.

Now begins the era of the artistic, rather than managing director,

whose interests were not financial, but rather artistic gain.

Looking back, we tend to forget just how radical this shift

from the managerial commercial model of theater,

to a form of publicly subsidized entertainment really was.

In cultural economics, one speaks of the welfare model,

to explain this approach to financing cultural activity.

It must be seen as part and

parcel of the spread of social democratic ideas throughout Western democracies,

which saw a much greater state involvement in all aspects of life.

探索我们的目录

免费加入并获得个性化推荐、更新和优惠。

Coursera 致力于普及全世界最好的教育，它与全球一流大学和机构合作提供在线课程。

© 2019 Coursera Inc. 保留所有权利。

通过 App Store 下载

通过 Google Play 获取

Coursera
关于
管理团队
工作机会
目录
证书
MasterTrack™ 证书
学位
企业版
政府版

社区
Learners
Partners
Developers
Beta Testers
Translators

连接
博客
Facebook
领英
Twitter
Instagram
YouTube
技术博客

更多
条款
隐私
帮助
内容访问
媒体
联系我们
目录
附属公司