music theatre in flanders - Muziekcentrum Vlaanderen

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perspectives 8 carMIna BreMana, THeaTer de sPIegel, 2008-2009 - PHoTo MarIon KaHane 9 table of contents
table of contents Music theatre’s blurring boundaries Trends In MUsIc THeaTre ProdUcTIon In Flanders (1993-2005) Joris Janssens VTi (Vlaams Theater Instituut) has made it a tradition to underpin discussion about trends and developments in performing arts production with material from its database. That database provides ready-for-research information about professional productions by Flemish producers during the period between 1993-1994 and 2004-2005 – the twelve seasons governed by the ‘Podiumkunstendecreet’ – the Flemish Parliament’s Performing Arts Decree. In Metamorphoses. Performing Arts in Flanders Since 1993 (Metamorfose in podiumland) we distilled a series of tendencies from the material for the entirety of the performing arts. We ascertained, among other things, an increase in production during the examined period, a tendency among individual artists to present themselves as independent field players, a tendency to produce in joint venture and a distinct tendency towards internationalization. Metamorphoses, in a nutshell, showed how radically the production of performing arts in Flanders and Brussels has changed since the 1990s. In 1993 the theatre company, with its relatively permanent team of contributors, was still the prototypical organization. Today we are seeing more and more interdisciplinary production nuclei, which maintain casual relationships with freelance artists and co-producers at home and abroad. Following the publication of this field analysis in 2007, we made in-depth studies of the results for the various sub-disciplines and 11
Page 1 and 2: This booklet presents the key playe
Page 3 and 4: Table of contents Introduction 5 St
Page 5: iosis music theatre calls for be de
Page 9 and 10: probably merely the result of the f
Page 11 and 12: • More on stage live music? A thi
Page 13 and 14: Diagram 3: Number of producers per
Page 15 and 16: also includes organizations that re
Page 17 and 18: ‘music theatre’. After all, the
Page 19 and 20: Diagram 9. Origin European producti
Page 21 and 22: a growth process. In the beginning,
Page 23 and 24: hISTOrICAl perSpeCTIVe In addition
Page 25 and 26: new relation or constellation. The
Page 27 and 28: prOduCTIVe AMbIGuITy All things con
Page 29 and 30: le grand MacaBre, de MUnT/la MonnaI
Page 31 and 32: international. It is much more esse
Page 33 and 34: Guy Coolen has been artistic and ge
Page 35 and 36: houses’ often inflexible trade un
Page 37 and 38: tre and theatre music, or is that m
Page 39 and 40: music theatre seriously has to take
Page 41 and 42: drAMA And wOrd In MuSIC TrAInInG Dr
Page 43 and 44: profiles of Flemish music theatre c
Page 45 and 46: Els Theunis. The artistic team incl
Page 47 and 48: Founded by theatre maker Ward Bal a
Page 49 and 50: tle children, younger than three. D
Page 51 and 52: who directed a musical version of h
Page 53 and 54: dertone and particular visual appea
Page 55 and 56: 13 (‘Track 13’) was actually es
Page 57 and 58:
are used to fabricate new instrumen
Page 59 and 60:
Wayn Traub www.wayntraub.net Wayn T
Page 61 and 62:
Sectorial think-tank in a diverse a
Page 63:
122 COnTACT Flanders Music Centre S
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