Although the process leading to the production of a performing arts event can to all intents be defined as a project and, for this reason, analysed as a project management problem, the involvement of management professionals into performing arts sector is relatively recent. Furthermore, sector’s professionals do usually rely on processes and habits result of experience and work field rather than from the application of business’ studies, this resulting in an overall lack in the systematisation of practices and in the absence, as evidenced by the literature review, of a structured and formal study of the production procedures of performing arts’ shows. The research here presented aims at filling this lack, drafting a model for the production of an artistic performance. The realisation process of a show is described, articulating it into the main project phases: conception, activation, planning and scheduling, implementation, closure and verification. Furthermore, since a show usually comes not as an isolated event but is framed into a precise calendar of events called “season”, and some strategies have to be decided upstream, the model considers also the whole season project. For each of these stages the most efficient and innovative solutions available are proposed, to make the model a kind of collection of worldwide best practices. Since the model is not expected to be exhaustive and applicable to all contexts, the further step is the observation of professional practices actually applied worldwide. To do so, eleven case studies selected among the most relevant PA producing entities have been interviewed through a questionnaire mirroring the structure of the model itself, so to highlight correspondences and deviations between the ideal model and reality. Results thus obtained are resumed in a matrix showing case studies on columns and questions on rows and analysed by columns, rows and clusters. Given that the number of case studies is far from guaranteeing scientific relevance to the research, the outcomes show that, although each entity follows mainly tailor-made procedures, some common strategies may be identified, especially among case studies of comparable size and artistic objectives. Furthermore, case studies seem to substantially aim to the implementation of some strategies presented in the model, but they have to come to terms with their specific constraints and the context in which they operate. Moreover, sometimes neither within the same case study it is possible to identify a process always implemented, except for projects of traditional scheduling. In fact, when dealing with highly innovative projects (in terms of size, location, artistic and technical requirements, etc.) the process has always to be draft ex novo, developing a personalised approach. To overcome the not negligible limits emerged, the research could be deepened selecting just a few topics of the model on which to focus on and widening the number of case studies but selecting them within a homogeneous group. Finally, it would be interesting to shift the focus on innovative projects to identify, in the absence of a model, key constant strategies.
Nonostante il processo per la produzione di un evento di arti performative possa a tutti gli effetti essere definito un progetto e, dunque, essere studiato come un problema di project management, il coinvolgimento di professionisti gestionali nel settore delle arti performative è relativamente recente. Per di più, i professionisti del settore sono soliti basarsi su processi e abitudini risultato dell’esperienza e del lavoro sul campo piuttosto che dell’applicazione di studi di gestione aziendale, con il risultato di una generale mancanza di sistematizzazione delle pratiche e nell’assenza, evidenziata dalla revisione della letteratura, di uno studio strutturato e formale delle procedure di produzione degli spettacoli di arti performative. La ricerca qui presentata ha l’obiettivo di colmare questa lacuna, stilando un modello per la produzione di una performance artistica. Viene descritto il processo di realizzazione di uno spettacolo, articolandolo nelle principali fasi del progetto: ideazione, attivazione, pianificazione e programmazione, realizzazione, chiusura e verifica. Inoltre, dal momento che di solito uno spettacolo non è un evento isolato ma è inquadrato all’interno di un preciso calendario di eventi chiamato “stagione”, e alcune strategie devono essere decise a monte, il modello considera anche il progetto dell’intera stagione. Per ciascuna di queste fasi, vengono proposte le soluzioni disponibili più efficienti e innovative, per rendere il modello una sorta di raccolta di best practices. Dal momento che non ci si aspetta che il modello sia esaustivo e applicabile a tutti i contesti, il passo successivo è l’osservazione delle pratiche professionali attualmente applicate a livello internazionale. Per fare questo, undici casi studio, selezionati tra i soggetti produttori di PA più rilevanti, sono stati intervistati tramite un questionario che rispecchia la struttura del modello stesso, in modo da evidenziare corrispondenze e deviazioni tra il modello ideale e la realtà. I risultati così ottenuti sono stati riassunti in una matrice che mostra i casi studio sulle colonne e le domande sulle righe, e analizzati per colonne, righe e clusters. Posto che il numero di casi studio è ben lontano dal garantire rilevanza scientifica alla ricerca, i risultati hanno mostrato che, nonostante ogni soggetto segua principalmente procedure disegnate su misura, possono essere identificate alcune strategie comuni, soprattutto tra casi studio di dimensioni e obiettivi artistici comparabili. Inoltre, sembra che i casi studio puntino sostanzialmente all’applicazione di alcune strategie presentate nel modello, ma devono fare i conti con i loro limiti specifici e con il contesto in cui operano. Per di più, a volte neanche all’interno dello stesso caso studio è possibile identificare un processo sempre applicato, eccetto per progetti della programmazione tradizionale. Infatti, quando si ha a che fare con progetti molto innovativi (in termini di dimensioni, ubicazione, necessità artistiche e tecniche, ecc.) il processo deve sempre essere definito ex novo, sviluppando un approccio personalizzato. Per superare i non trascurabili limiti emersi, la ricerca potrebbe essere approfondita selezionando solo pochi argomenti del modello su cui concentrarsi e allargando il numero di casi studio ma selezionandoli all’interno di un gruppo omogeneo. Infine, sarebbe interessante spostare l’attenzione sui progetti innovativi per identificare, in assenza di un modello, le strategie chiave costanti.
How to build performances : from the artistic idea until the curtain's drop. Model of best professional practices for the production of a performing arts’ project through the observation and comparison of Italian and international case studies
PALMIERI, ELEONORA
2017/2018
Abstract
Although the process leading to the production of a performing arts event can to all intents be defined as a project and, for this reason, analysed as a project management problem, the involvement of management professionals into performing arts sector is relatively recent. Furthermore, sector’s professionals do usually rely on processes and habits result of experience and work field rather than from the application of business’ studies, this resulting in an overall lack in the systematisation of practices and in the absence, as evidenced by the literature review, of a structured and formal study of the production procedures of performing arts’ shows. The research here presented aims at filling this lack, drafting a model for the production of an artistic performance. The realisation process of a show is described, articulating it into the main project phases: conception, activation, planning and scheduling, implementation, closure and verification. Furthermore, since a show usually comes not as an isolated event but is framed into a precise calendar of events called “season”, and some strategies have to be decided upstream, the model considers also the whole season project. For each of these stages the most efficient and innovative solutions available are proposed, to make the model a kind of collection of worldwide best practices. Since the model is not expected to be exhaustive and applicable to all contexts, the further step is the observation of professional practices actually applied worldwide. To do so, eleven case studies selected among the most relevant PA producing entities have been interviewed through a questionnaire mirroring the structure of the model itself, so to highlight correspondences and deviations between the ideal model and reality. Results thus obtained are resumed in a matrix showing case studies on columns and questions on rows and analysed by columns, rows and clusters. Given that the number of case studies is far from guaranteeing scientific relevance to the research, the outcomes show that, although each entity follows mainly tailor-made procedures, some common strategies may be identified, especially among case studies of comparable size and artistic objectives. Furthermore, case studies seem to substantially aim to the implementation of some strategies presented in the model, but they have to come to terms with their specific constraints and the context in which they operate. Moreover, sometimes neither within the same case study it is possible to identify a process always implemented, except for projects of traditional scheduling. In fact, when dealing with highly innovative projects (in terms of size, location, artistic and technical requirements, etc.) the process has always to be draft ex novo, developing a personalised approach. To overcome the not negligible limits emerged, the research could be deepened selecting just a few topics of the model on which to focus on and widening the number of case studies but selecting them within a homogeneous group. Finally, it would be interesting to shift the focus on innovative projects to identify, in the absence of a model, key constant strategies.File | Dimensione | Formato | |
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https://hdl.handle.net/10589/147569