The Concept of the New

The Concept of the New : Framing Production and Value in Contemporary Performing Arts

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Which concepts of the new can be identified within contemporary performing arts? Livia Andrea Piazza addresses art production in neoliberal capitalism as well as its discourse. She builds a reconceptualization of the new outside the framework of innovation, in order to rethink the relationship between performance and politics at large. Combining theoretical research based on sociology, economics, art theory, and philosophy with a field study in the scene of European contemporary theater and dance, she offers a working definition of the new as a ground to envision the poetics and politics of the new as well as concrete actions to trigger change in the world of performing arts.
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Product details

  • Paperback | 210 pages
  • 147 x 211 x 12.7mm | 249.48g
  • Verlag Barbara Budrich
  • Leverkusen, Germany
  • English
  • 3863887379
  • 9783863887377

About Livia Andrea Piazza

Livia Andrea Piazza is a researcher at Leuphana University, Luneburg, Germany.
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Table of contents

Chapter I * On the New in Social Sciences1.1 The new as unknown: the recognition of novelty in the Social Sciences 1.2 The production of innovation and its temporal dimension 1.2. 1 The production of innovation, its purpose and its critique 1.2.2 Critical innovation studies 1.3 Perspectives from Sociology of Art: the collective aspect and the impossibility of NoveltyChapter II * On the New in Humanities 2.1 On difference, memory and obscurity: the recognition of novelty in Humanities 2.2. Difference, space and time: the production of the new 2.2.1 The time of the new 2.2.2 The spaces of the New2.3 Duration and value2.3. 1 The problem of valueChapter III * On the New in the Present 3.1 Some notes on the Avantgarde 3.2 Postmodernism and the future 3.3 The affirmation of creativity and its critique 3.3.1 The critique to creativity: partial answers to the problem Chapter IV * On the traces of the New in the Theatre of the Present 4.1 Today's theatre across reality and fiction 4.2 The institutional critique yet to come 4.3 Open conclusions on theory and practice: where to start Chapter V * Empirical Research on the New: methodology 5.1 Balancing theory and empirical research: abduction and qualitative methods 5.2 Objectives and research questions 5.3 Sampling and data collection 5.4 Data analysis Chapter VI * The New in the Theatre of the Present 6.1 The Notion of New and its relevance in the field 6.1.1 The Difference of the New in the Field 6.1.2 The New as Incomplete 6.1.3 The Ephemeral New and its Eternity 6.2 From the Concept of New to its Production: escaping directionality 6.2.1 The Production of the New: a Co-Existence of Differences 6.2.2 Envisioning Production: suspension and self-betrayal 6.3 On the system and its value(s) 6.3.1 Perspectives on the System and Ways out of its Reproduction 6.4 On Art and Politics: values and roles Chapter VII * Rethinking Production as a Step towards the Incomplete 7.1 On paradigms and politics: institutions as frames 7.2 The collective cultivation of difference: autonomy and conflict 7.3 On clarity, obscurity and indeterminacy 7.4 On roles and rules: impossible possibilia 7.5 On products and failure7.6 On progress and time: the reconceptualization of production
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