Justifying Theatre in Organizational Analysis: a Carnivalesque Alternative?

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Justifying Theatre in Organizational Analysis: a Carnivalesque Alternative? / Beyes, Timon; Steyaert, Chris.
in: Consumption Markets & Culture, Jahrgang 9, Nr. 2, 01.06.2006, S. 101-109.

Publikation: Beiträge in ZeitschriftenZeitschriftenaufsätzeForschungbegutachtet

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@article{b2dcd32c6c1846ae98f801d34aa1aca9,
title = "Justifying Theatre in Organizational Analysis: a Carnivalesque Alternative?",
abstract = "Drawing upon recent developments in “post‐dramatic theatre”, this article inquires how the aesthetics and art of theatre has been justified and used in the organisational context and tries to re‐imagine possible relations between theatre and organisation. Referring to the simultaneously provocative and self‐reflective staging of Dostojevski{\textquoteright}s “The Idiot” by the German director Castorf, we suggest to break up an all‐too‐easily established relationship between theatre and organisation and to demand that the “art” of theatre in organisations requires a performative demonstration that there is always an other way of organising. A carnivalesque relationship between theatre and organisation is conceived as a performative (and, hence, political) assemblage playing out hybridity, riskiness, and irony.",
keywords = "Media and communication studies, Cultural studies",
author = "Timon Beyes and Chris Steyaert",
note = "Special Issue: Oppression, Art and Aesthetics",
year = "2006",
month = jun,
day = "1",
doi = "10.1080/10253860600633416",
language = "English",
volume = "9",
pages = "101--109",
journal = "Consumption Markets & Culture",
issn = "1025-3866",
publisher = "Routledge Taylor & Francis Group",
number = "2",

}

RIS

TY - JOUR

T1 - Justifying Theatre in Organizational Analysis

T2 - a Carnivalesque Alternative?

AU - Beyes, Timon

AU - Steyaert, Chris

N1 - Special Issue: Oppression, Art and Aesthetics

PY - 2006/6/1

Y1 - 2006/6/1

N2 - Drawing upon recent developments in “post‐dramatic theatre”, this article inquires how the aesthetics and art of theatre has been justified and used in the organisational context and tries to re‐imagine possible relations between theatre and organisation. Referring to the simultaneously provocative and self‐reflective staging of Dostojevski’s “The Idiot” by the German director Castorf, we suggest to break up an all‐too‐easily established relationship between theatre and organisation and to demand that the “art” of theatre in organisations requires a performative demonstration that there is always an other way of organising. A carnivalesque relationship between theatre and organisation is conceived as a performative (and, hence, political) assemblage playing out hybridity, riskiness, and irony.

AB - Drawing upon recent developments in “post‐dramatic theatre”, this article inquires how the aesthetics and art of theatre has been justified and used in the organisational context and tries to re‐imagine possible relations between theatre and organisation. Referring to the simultaneously provocative and self‐reflective staging of Dostojevski’s “The Idiot” by the German director Castorf, we suggest to break up an all‐too‐easily established relationship between theatre and organisation and to demand that the “art” of theatre in organisations requires a performative demonstration that there is always an other way of organising. A carnivalesque relationship between theatre and organisation is conceived as a performative (and, hence, political) assemblage playing out hybridity, riskiness, and irony.

KW - Media and communication studies

KW - Cultural studies

UR - https://www.mendeley.com/catalogue/2ec345eb-69da-304c-82f8-4cca7f0d0648/

U2 - 10.1080/10253860600633416

DO - 10.1080/10253860600633416

M3 - Journal articles

VL - 9

SP - 101

EP - 109

JO - Consumption Markets & Culture

JF - Consumption Markets & Culture

SN - 1025-3866

IS - 2

ER -

DOI