Małgorzata Ćwikła

* Recenzja powstała w wyniku realizacji projektu badawczego o numerze 2021/05/X/HS4/00317 (Testowanie metody dyfrakcyjnej w naukach o zarządzaniu), finansowanego ze środków Narodowego Centrum Nauki.

The article presents the results of carbon footprint measurements of a theatre project. For the purpose of the research, data from a survey and in-depth interviews with representatives of Polish theatres were used. Based on this data, a “model” was created, encompassing different variations of theatrical performances, including production, promotion, as well as online and on-site operations during guest performances. The analysis covers both direct emissions related to electricity consumption, transportation, and set design, as well as indirect emissions resulting from the supply chain and possible audience behaviour. The results clearly indicate that the greatest challenge in terms of the carbon footprint of a theatre project faced by cultural managers is mobility and the use of air travel for transporting theatre ensembles and set designs over long distances. Moreover, the transportation needs of the theatre ensembles and set designs for long distance travels pose a challenge. Additionally, the use of individual car transportation by audiences – even for short distances, is problematic – which could be addressed through the implementation of local partnerships. Getting familiar with this analysis can help producers, cultural managers, artists, and those responsible for shaping cultural policies to identify aspects with the greatest environmental impact and take appropriate adaptive actions. Although most of these actions will involve a profound change in traditional project management practices in the theatre, paying attention to relevant indicators, consciously developing new habits, and sharing resources provides an opportunity to expedite adaptation based on knowledge and organizational learning. These types of activities are necessary due to the unrelenting projectification of the field of culture and beyond, which causes organizations to operate in a kind of “projectocene”.

The article discusses selected examples of artistic projects and scientific papers in the field of management sciences from 2008-2018 in which the authors strived to outline the possible shape of the future. Two methodologies were used in order to show what visions of the world that is yet to come are veiled in the statements being analysed. The first one, the narrative collage, was applied at the stage of selecting the examples, while the second one, the discourse analysis, allowed to penetrate the content of the statements. At the same time, every effort was made to pinpoint the key theme of "relations" in which individuals and groups would be involved. Furthermore, the author factors in the organisational phenomena, and also the interactions within private relationships or communing with nature. The research part is complemented with a review of the literature on management and art, as well as with a comparison of the ways in which scientists and artists formulate their thoughts about the future. The focus on these two fields of activity, science and art, stems from the conviction that they are highly projectified. On the one hand, this justifies the choice of the future-related topic, because projects can be construed as tools that co-shape the future; on the other hand, it is a logical starting point for the research process combining these two perspectives.

Paris is a city filled with art and home to some of the world’s most famous institutions offering unique cultural events, including exhibitions of priceless works of art and ephemeral performative phenomena such as performances and concerts. Due to the closure of cultural institutions during the COVID-19 pandemic, the situation has completely changed. The city is deserted, while cultural institutions are focused on using the Internet to run their affairs and forge/maintain relationships with the audience without the possibility of meeting them face-to-face. Based on the author’s own research conducted in Paris in December 2020, the paper presents the analysis of public space in terms of the presence of traces of culture. For this purpose, a flexible methodological approach was designed, covering both the city space and the Internet, also understood as part of the public domain. Additionally, the author’s own research experience is taken into account, depending on the epidemiological situation and the ability to move around the city. The factors discussed in the paper have provoked a multifaceted reflection – starting from the privileges of researchers, through the sense of online culture, and ending with the future of cultural institutions. The aim of the paper is to document the situation of cultural institutions in Paris during the pandemic, with an emphasis on their presence, visibility, and accessibility in the city and the Internet.

Moving theatre operations to the Internet during the COVID-19 pandemic constituted a substan­tial organisational challenge, mostly due to the nature of theatrical events itself, which is based on the direct interaction between actors and the audience. Theatres were forced to swiftly implement various solutions in order to adapt and preserve their existing relationships with their public, and at best to establish new ones, but also to create new working conditions for artists and the rest of the staff. The article presents the results of the study on establishing the audience on the Internet by Polish theatres from March to August 2020. The study was carried out with the method of netnog­raphy. The aim of the study was not only to explore the strategies used but also to emphasise the is­sue of the digital maturity of cultural organisations, to signal an excess of culture that exists on-line, and to show various patterns of participation in culture in new conditions. Moreover, the study has shed some light on the most crucial research gaps that can become the basis for further scientific in­vestigation in the context of adjusting the ways in which cultural institutions operate to unexpected shifts in the external environment.

JEL: Z1

The article describes the practices of organizing artistic activities away from the traditional patterns of institutional landscape. The general regularities, typical of independent art, are illustrated on the example of a non-institutional theatre in Germany (so-called „Freie Szene”) and supplemented with a discussion of its features inscribed in the local context. Through the introduction of comparison with the situation of the independent art initiatives within the performing arts in Poland, the unique element characteristic of this type of theatre is underlined and pointed to its relationship with the culture management mechanism used in each country. At the same time, an important element in the analysis is the assumption according to which the focus was placed on the non-economic aspects, in order to take into account the wide range of factors that affect the ability to create theatre by independent groups. The observation of the achievements of German art groups leads to the belief that what is particularly important for the independent scene is an organizational model based on proven solutions used in repertory theatres and in creative associations exclusively oriented on project work. Combining independent initiatives with the publicly subsidized theatres and festivals leads to the establishment of new ways of creating, displaying and distributing stage works and additionally blurs the boundary between independent culture and the one associated with the institutions. Background of this reflection is a relationship shaped by cultural centers dedicated to supporting independent theatre with the audience – both in Poland and in Germany – and the issue of the impact of cultural policies on the possibilities of developing independent culture.

The Anthropocene is a term that not only conjures up all kinds of images in the mind but provides an impulse to reconsider the scope of human responsibility for man-triggered processes and its place in the system of related factors on our planet. At the same time, it is a term treated by many with ambivalence, reluctance, and caution, as it often harbingers the imminent environmental doom, the awareness of which may change the current balance of political and economic forces. Additionally, it is still involved in emphasizing the central role of the human, it is sometimes romanticized and can lead to an aestheticization of the climate catastrophe instead of taking actions resulting not from the will of heroism, but from humility. The ongoing debate on the Anthropocene in the field of management studies is of extraordinary importance, because it provides a framework for undertaking any activity – the activity which either aggravates or alleviates the negative environmental impact. The purpose of this paper is to discuss the contexts in which the scientific literature in the field of management talks about the Anthropocene and to explore the level of gravity that is assigned to management in this conventional geological and cultural era. Particular attention is paid to the dominant trends of reflection which illustrate a wide variety of attitudes towards the Anthropocene, including the one that places the Anthropocene against the background of efforts to maintain the status quo and the one that perceives it as a prelude to concocting alternative or even anarchist visions of management. The paper focuses on theoretical voices, which determined the method of analysis based on the study of language and the interpretation of narratives and metaphors.

The article describes the practices of using the typical methods of theatrical expression by contemporary business institutions to develop the workers’ emotional labor skills. Special emphasis is put on discussing the communication and training-related issues which are vital for the development of specifi c emotion usage patterns. The discussion is placed in the context of observations on the process of introducing the concept of performatics into business and tracing the analogies between social relations and situations known from performance art. The article is intended to initiate a discussion about the effects of interweaving culture with business.