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• W2960782412 abstract "With the way information is exchanged right now, it is very easy to engage withsomeone across town or across the world. News travels across the globe quickly,and it is the same with art. Theatre artists are becoming more international in theway that they engage with one another across continents, creating cultural movementswhich lead to transnational collaborations. As dramaturgs, we have always beendeveloping plays, advocating for their widespread performance, and endeavoring tocommunicate cultural context. Now, we are doing it on a much larger scale. We uselanguage and the practice of dramaturgy as a tool to help integrate productions,seasons, and international collaborations. Our dramaturgical lingua franca is anincreasingly valuable asset in the global economy, as is our free-thinking spirit ofcreativity and diplomatic training. Our given assets are education, experience, andcollaborative training.In our fast-paced, “hyper-connected” global economy, as Thomas L. Friedmandescribes it, sometimes there are misunderstandings.1 Thanks to our experience,dramaturgs should feel pretty much at home in this climate of multicultural interconnectivity. As cultural liaisons with literary and performance training, we arepoised to evolve into greater leaders as we assist others in navigating new employmentand collaborative realities in the twenty-first century. But first, we would do well tobuild a new infrastructure of information sharing and archives. Three ways to buildthese bridges are by engaging our contacts and the world at large as journalists,advocates, and curators.With the 2008 American financial industry collapse, our economic reality changed.Companies were downsized even more in favor of employing part-time workers andconsultants. Many workers who would have expected to work for someone else formost of their lives began to consider self-employment. As a result of this trend, theoffice, or even the manufacturing plant, will not be a primary, long-term location forthe worker of the future. It seems everyone is freelancing at some task, with manyworking at home stringing several part-time assignments together in an effort tocreate full-time income. “Indeed, statistics now show that about a third of journalistsand creative workers are already independent, and that number is only going toincrease.”2 Freelancing has become a global movement.Due to these shifting employment parameters, new expectations and realities weremet with invention, particularly in the form of more community-based workspacesall over the country. People are working at home and then meeting in a shared spaceto exchange ideas and opportunities. Union Square Ventures’ Fred Wilsondescribes why co-working in the tech field, specifically, is a growing trend: “Themain benefits of this kind of setup are camaraderie (small startups can be lonely),knowledge sharing, high energy, culture, and cost sharing.”3" @default.
• W2960782412 created "2019-07-23" @default.
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• W2960782412 date "2014-08-07" @default.
• W2960782412 modified "2023-09-24" @default.
• W2960782412 title "Freelance dramaturgs in the twenty-first century: journalists, advocates, and curators" @default.
• W2960782412 doi "https://doi.org/10.4324/9780203075944-27" @default.
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