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Conflicting artistic and business/commercial logics in not for profit theatre

Table of Contents





2.2Cultural snowball effect for trust and networking12

2.3Social work strategies for 'tame victims'13

2.4Towards a more engaging approach16

2.5Research context17



3.1.1Case selection23

3.1.2Data collection23

3.2Data analysis24



4.2Central constructs26

4.3Construct relationships28

4.4Task-oriented conflict30

4.5Causes of conflict32

4.5.1Dissemination of conflict32

4.5.2Conflict type32

4.6Organizational processes32

4.7Process-oriented conflict33

4.8Emotionally-oriented conflict34

4.9Impact of confrontation type and dissemination on organizational processes36

4.9.1Task-oriented confrontation and interior keeping or advice-seeking36

4.9.2Process-oriented confrontation and interior keeping or alliance-seeking38

4.9.3Emotionally-oriented confrontation and interior keeping, alliance-seeking, mediation or abdication42


5.1Implications for theory48

5.2Implications for management52

5.3Limitations to the research54

5.4Future research56



Chapter 1

1.1 Introduction

'Creative industries' is a rather latest class in learned, principle and commerce discourse. It can assertion to arrest important 'new economy' enterprise dynamics that such periods as 'the arts,' 'media' and 'cultural industries' manage not. An early acknowledgement of the distinct assistance of the creative commerce came in the Creative Industries Task Force Mapping Document (CITF (1998) 2001) in the UK. This article characterised creative commerce as 'activities which have their source in one-by-one creativity, ability and gifts and which have the promise for riches and job creation through lifetime and exploitation of thoughtful property.' It mapped into the creative commerce part the next activities: Advertising, Architecture, Arts and Antique Markets, Crafts, Design, Designer Fashion, Film, Interactive Leisure Software, Music, Television and Radio, Performing Arts, Publishing and Software. This eclectic register encompasses the resolutely analogue (arts, home wares, antiques, architecture), established financial enterprise parts (TV, wireless, film) as well as all-digital new finances parts (software, interactive leisure software). Critics issue to a rather random exclusivity in the register, whereby, for demonstration, the heritage part is omitted regardless of its financial, creative and heritage characteristics being not less than if not more robust than some of the parts included.

Societal and market tendencies have directed to an expanded developed reliance upon creative abilities as a foremost source of worth creation. Three mighty forces are simultaneously forming the communal bases for the future; the clear transformation in inherent financial schemes, the fast international integration and the communal diversity itself. There is furthermore a clear change to be glimpsed from the uniformity and obedience of the mass era to the uniqueness and creativity of a information economy. In the information finances, international dissimilarities are a mighty source of market possibilities and the crossfertilization of yearns and concepts, which boost discovering and creativity.

The much recurring note in the post-industrial discourse that we are “on the threshold of the knowledge-based society” entails a humanity in which information is the prime merchandise and material goods are derivatives of the information produced. Instead of vying in customary markets for example constructing, numerous first world nations now glimpse the Creative Industries as a key constituent in the new information economy. The Creative Industries provide items and services that we amply aide with heritage, creative, or easily amusement value. In supplement, creative items and services, the methods of their output, and the preferences or flavours of creative creative individuals disagree in considerable and methodical modes from their equivalent in ...
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