À travers le monde

Alors que dans certains pays d’Europe les arts sont pris au piège des réalités du marché et opprimés par des exigences telles que le surplus économiques, la liberté créative est engloutie par les agendas politiques et étouffée par la présence des états dans les arts.

Libéralisme, liberté, financement public, ingérence étatique ; ces notions - que nous avons tous en tête de temps en temps - sont-elles perçues de la même façon dans des contextes historiques, économiques et sociaux différents ? Cette section nous donne un aperçu des divers paradigmes, défis et aspirations qui prévalent aux quatre coins du monde.

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History can be a contentious subject, especially when it comes to determining how and what we remember. That’s especially true in Argentina, which is still trying to come to terms with the legacy of its period of military rule in the 1970s and 80s, which resulted in the deaths of tens of thousands of citizens.
sylensi
Sylvia Botella interroge le sociologue Éric Fassin sur son point de vue sur le lien entre la sociologie, les arts du spectacle et la politique à l'ère du populisme.
sylensi
Sylvia Botella interviews sociologist Éric Fassin about his views on the connection between sociology, the performing arts, and politics in the age of populism.
Sinasaberi
In a story rarely told before, this is an invitation to discover a different and surprising Iran, and to experience its dynamic art scene. Most art forms in Iran are closely monitored and artists have to perform discretely, staging shows in caves, private art galleries or isolated fields where officials won’t see them.
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This report has been written with the aim of investigating and documenting how the State of Emergency (SOE) measures introduced after the July 15, 2016 coup attempt in Turkey have affected the country’s culture and art worlds.
Veem Huis voor Performance - Amsterdam
Elena DI FEDERICO
Fair practice refers to a better labour market position for artists and fair business practices on the part of commissioning clients. The Dutch Fair Practice Code was drawn up jointly by makers, employers, trade unions, professional groups and other partners in the creative and cultural sectors, following a report by the Netherlands’ Council for Culture and Social and Economic Council. The draft version of the Code is now available also in English.
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The current paper presents those processes which characterizes the appointment of a leadership of Hungarian cultural institutions. Public theaters, performing arts institutions and independent theaters stay in the focus of the paper.
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In this article, I attempt to indicate the productive function of censorship based on examples of recent restrictions of creative freedom in Poland, understood as elements of a new political order.
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In the third issue of Polish Theatre Journal, we examine institutional practices in Polish theatre in the context of political and social changes. We analyse conditions for freedom of artistic expression and of mechanisms of censorship; we observe significant conflicts and struggles in theatre life, and scrutinize the entanglement of economic, political and aesthetic determinants.
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The new theatre season in Germany, especially in Berlin, has started with a lot of highlights. But the big news was that a group of about 100 German theatre activists called Staub zu Glitzer (Dust to Glitter) squatted in the Berlin Volksbühne between 22-26 September 2017.

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