MOTAL, Jan. Professional artists and the division of labour, or How not to reproduce inequalities. Online. In Naďa Satková. Touching Limits/Crossing Borders od Theatre. Special Issue 04. Brno: Divadelní fakulta JAMU, 2023.
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Základní údaje
Originální název Professional artists and the division of labour, or How not to reproduce inequalities
Název anglicky Professional artists and the division of labour, or How not to reproduce inequalities
Autoři MOTAL, Jan.
Vydání Special Issue 04. Brno, Touching Limits/Crossing Borders od Theatre, 2023.
Nakladatel Divadelní fakulta JAMU
Další údaje
Originální jazyk čeština
Typ výsledku Stať ve sborníku
Obor 60403 Performing arts studies
Stát vydavatele Česká republika
Utajení není předmětem státního či obchodního tajemství
Forma vydání elektronická verze "online"
WWW URL
Organizační jednotka Divadelní fakulta
Klíčová slova anglicky social practice; social transformation; artists; state; labour; public service
Štítky DF_VaVneRIV_2023
Změnil Změnila: doc. MgA. Hana Průchová, Ph.D., učo 5216. Změněno: 17. 3. 2024 18:54.
Anotace
In late-modern society, art is still a distinct field of human activity, as it developed in the course of the Industrial Revolution along with the diversifying division of labour. Whereas in mass society art could rely on the power of the audience or the support of collective institutions or political parties, today the artist is in the same situation as other precarized industries – like journalists or educators, he or she is undergoing a massive deprofessionalization (expressed in the tabloidization of theatre and media). Artists are therefore seeking the attention and support of the state, which should protect their professional status and recognise their activity as a specific public service. But do we know what this really means? Is it not just a convenient collaboration with the modern state, which is the ultimate manifestation of the modern division of labour that, alongside opportunities, breeds above all – social inequalities? Have not we, as artists, lost our relationship with the people, to whose everyday life all engaged art should be indebted? This anarchistic dialogue between a contemporary engaged artist and a retired avant-garde socialist of the fin-de-siecle offers a dialectical reflection on the relationship between professionalism, art and social practice that seeks social transformation towards a more just and free society.
Anotace anglicky
In late-modern society, art is still a distinct field of human activity, as it developed in the course of the Industrial Revolution along with the diversifying division of labour. Whereas in mass society art could rely on the power of the audience or the support of collective institutions or political parties, today the artist is in the same situation as other precarized industries – like journalists or educators, he or she is undergoing a massive deprofessionalization (expressed in the tabloidization of theatre and media). Artists are therefore seeking the attention and support of the state, which should protect their professional status and recognise their activity as a specific public service. But do we know what this really means? Is it not just a convenient collaboration with the modern state, which is the ultimate manifestation of the modern division of labour that, alongside opportunities, breeds above all – social inequalities? Have not we, as artists, lost our relationship with the people, to whose everyday life all engaged art should be indebted? This anarchistic dialogue between a contemporary engaged artist and a retired avant-garde socialist of the fin-de-siecle offers a dialectical reflection on the relationship between professionalism, art and social practice that seeks social transformation towards a more just and free society.
VytisknoutZobrazeno: 22. 5. 2024 06:56