Over the last 15 years experience economy has introduced a strong interaction between commercialism, arts and culture not only into businesses but also into society as a whole including the cultural sector itself. The primary objective here is to use arts and culture as a means to creating economic growth. Taking a critical approach one can argue that this strategy fosters an experience culture that doesnt leave much room for critical reflection amongst neither the artists nor the audience. Where does this leave the potential for creating a room for reflection that constitutes the very essence of art? As case for investigating this issue I have chosen Teatret Slotsgården which is known for exactly its ability to creative the special room for reflection for its audience. My definition of experience economy is based on Pine & Gilmore. In order to characterize the different understandings of culture at stake I am using Jørgen Østergård Andersens notions of aesthetic experience and the liminal, Eigtved’s model on cultural discourses in arts and Angelina McRobbie’s observations and reflections on the work conditions of designers in the British fashion industry. Within this theoretical framework I will analyze and discuss the work of Teatret Slotsgården. My empirical data consists of interviews with the team behind the performance of 2017.
|Educations||Danish, (Bachelor/Graduate Programme) GraduatePerformance-design, (Bachelor/Graduate Programme) Graduate|
|Publication date||2 Mar 2018|
|Number of pages||80|
|Supervisors||erik svendsen & Monna Dithmer|