Market as Crisis: The Internationalisation of Independent Theatre in Germany – Funding Economy, Spaces of Co-ooperation, Aesthetics

德国独立剧院的特点是国际化，体现在跨国合作、国际艺术节、嘉宾表演和艺术家驻场节目等方面。国际化也被纳入了投资决策的标准。该项目建立在第一个项目阶段的基础上，其中分析了资金结构、工作条件和艺术美学之间的联系，并将其与转型的制度动态和危机话语联系起来。该项目专注于德国独立剧院的国际化，并研究这种国际化的路径和后果。分析的角度是研究国际化-因此共存和多样性的文化，组织，制度和审美实践和传统-在其地方表现。该项目结合了两个学科的观点，工作和组织研究与戏剧研究，研究在国际化背景下的资金条件，工作和合作形式以及艺术形式和美学之间的相互作用。国际化被概念化为：(1)一个动态的过程，它在经验上改变了市场条件，独立戏剧团体的工作实践和美学；(2)作为一种话语产生的现象，它本身需要合法化。这些多层次的联系是在定性访谈、（参与者）观察和戏剧表演分析的基础上进行检验的。通过参考组织研究中的空间转向，分析的重点是由国际化驱动的传统合作和戏剧表演空间的本质变化，以及最近由于冠状病毒危机而加速的数字化。由于独立剧院的国际化工作实践和生产形式越来越多地被公共剧目剧院所采用，并且由于独立团体和公共剧院之间的合作激增，该项目也有助于我们对表演艺术转型动态的理解。

Independent theatre in Germany is characterised by internationalisation, reflected in, for example, cross-country co-operations, international festivals, guest performances and artist-in-residence programmes. Internationalisation has also found its way into the criteria for funding decisions. The project builds upon a first project phase in which the link between funding structures, working conditions and artistic aesthetics has been analysed and related to transformational institutional dynamics and crisis discourses. The project focusses on the internationalisation of independent theatre in Germany and investigates paths and consequences of this internationalisation. The analytical perspective is to study internationalisation – and thus the coexistence and diversity of cultural, organisational, institutional and aesthetic practices and traditions – in its local manifestations. The project combines two disciplinary perspectives, work and organisational studies with theatre studies, to research the interactions between funding conditions, forms of work and co-operation as well as artistic formats and aesthetics in the context of internationalisation. Internationalisation is conceptualised as (1) a dynamic process that empirically changes market conditions, work practices and aesthetics of independent theatre groups and (2) as a discoursively produced phenomenon that itself requires legitimisation. These multi-layered connections are examined on the basis of qualitative interviews, (participant) observations and analyses of theatrical performances. By referring to the spatial turn in organisational studies, a focus of analysis are the essential changes to traditional spaces of co-operation and theatrical performance driven by internationalisation and, very recently, by accelerated digitalisation as a consequence of the Corona-crisis. Since independent theatre’s internationalised work practices and forms of production are increasingly adopted by public repertory theatres and since co-operations between independent groups and public theatres proliferate, the project also contributes to our understanding of transformational dynamics in the performing arts in general.