Europe's Newcomers in Theatre: Transformations in Education for Directors

这项研究的重点是在德国和欧洲的青年戏剧导演学习计划的组织领域。这是我们对“新人”的研究的结果。很明显，这些电影节的节目策划在很大程度上依赖于仍在攻读学位的年轻导演的工作。在教育领域，艺术的危机政权也表现在一场巨大的制度变革中，这场变革阻止了学院失去其合法性。这场危机迫使教育方案为学生的专业化制定新的战略，包括新的教学方法和修订长期存在的类别，如“指导”本身。研究计划对戏剧机构内发生的变革做出反应，同时试图积极塑造他们的未来。因此，“新来者”领域本身变成了一个制度化的实验领域，这在很大程度上是由戏剧世界的国际化所塑造的。这个研究项目的目的是双重的。首先，它比较了德国（汉堡，吉森，波鸿）的三个青年导演学习计划，表明了该领域的变化。随后，这些方案将与国际同行和替代方案进行比较，主要是与阿姆斯特丹戏剧学校的DasArts方案进行比较。其次，它分析了教育领域固有的动态，其特点是戏剧学生之间的国际交流日益增加。为了说明这一点，将审查两个“新人”--在布尔诺/捷克的Setkání/Encounter和德累斯顿的Fast Forward艺术节，这些艺术节展示了仍在学院或大学工作的国际年轻艺术家的作品。

The focus of this research is on the organizational field of study programmes for young theatre directors in Germany and Europe. It follows on from our research in “newcomer”-festivals which, as has become apparent, for the curation of their programmes rely heavily on the work done by young directors still working for their degrees. In the educational field, too, the crisis regime of the arts manifests itself in a huge institutional change that prevents the academies from losing their legitimacy. The crisis forces educational programmes to develop new strategies for the professionalization of their students including both new ways of teaching and a revision of longstanding categories such as “directing” itself. Study programmes react to the transformations taking place within theatre institutions while at the same time trying to actively shape their future. Thus, the „newcomer“-field itself turns into an institutional field of experimentation, which is heavily shaped by the internationalization of the theatre world as such. The aims of this research project are twofold. First, it compares three study programmes for young directors in Germany (Hamburg, Gießen, Bochum) indicative of the changes in the field. Subsequently, these programmes will be compared to their international counterparts and alternatives, primarily to the the DasArts programme at the Theaterschool Amsterdam. Second, it analyses the dynamics inherent in the educational field, which is characterised by an increasing international exchange amongst theatre students. Indicative of this, the programme of two „newcomer“-festivals, in Setkání/Encounter in Brno/Czechia) and Fast Forward in Dresden, which present work from international young artists still working in the academies or universities, will be examined.