LEADERSHIP IN PERFORMING ARTS
References: 3rd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2016, www.sgemsocial.org , SGEM2016 Conference Proceedings, ISBN 978-619-7105-53-7 / ISSN 2367-5659, Apr 06-09, Book 4, Vol.1, 307-314 pp, DOI: 10.5593/SGEMSOCIAL2016/HB41/S06.039
This paper investigates leadership models of performing arts organizations like theatres: theatre groups are very used to contingent situations that are necessary in the rehearsal processes to produce a persuasive play, i.e. to explore new thought styles and perspectives. How are these processes led and are they adaptable to contemporary organizations that are looking for leadership concepts that permit radical innovations?
Six semi-structured expert interviews with theatre or stage directors, sceonographers, actors of theatres that represent typical metropolitan theatres in the German speaking part of Europe were done. The interview guideline contained narrative parts and was aimed at gaining access to stories, experiences, impressions and also emotions of the interviewees to constitute the leadership reality.
The results show that the leadership reality of the theatre is a paradoxical one: There is of course the understanding, that everybody of the ensemble is part of an open process, but nevertheless there are rules and even a absolutistic understanding of leadership. – It is the director, who has the absolute power. The colleagues work in a very competitive way; they work as homines oeconomici. Trust is a very sensitive matter, manipulating is accepted. We find absolutistic leadership thought styles that realize arbitrariness as a daily occurrence. On the other side, we find interesting thoughts about emergent processes during the rehearsals than can be applied for innovation processes in contemporary firms.
Keywords: leadership, ambivalence, performative arts institutions, radical innovation processes
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