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，这体现在跨国合作、国际音乐节、客串表演和艺术家驻场计划等方面。国际化也已成为融资决策的标准之一。该项目建立在第一个项目阶段的基础上，在该阶段分析了资金结构、工作条件和艺术美学之间的联系，并将其与转型机构动态和危机论述联系起来。该项目聚焦于德国独立剧院的国际化，并调查了这种国际化的路径和后果。分析的视角是研究国际化--从而研究文化、组织、制度和审美实践与传统的共存和多样性--以其本地表现形式。该项目将工作和组织研究与戏剧研究这两个学科视角结合起来，研究国际化背景下资金条件、工作形式和合作以及艺术形式和美学之间的互动。国际化被概念化为：(1)从经验上改变独立剧院集团的市场状况、工作实践和美学的动态过程；(2)作为一种以话语方式产生的现象，其本身需要合法化。这些多层次的联系是在定性访谈、(参与者)观察和对戏剧表演的分析的基础上被检验的。通过提到组织研究中的空间转向，分析的焦点是国际化以及最近日冕危机导致的数字化加速推动的传统合作空间和戏剧表演空间的根本变化。由于独立剧院的国际化工作实践和制作形式越来越多地被公共剧目剧院采用，而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总体上的变革动态的理解。

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.