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The Concept of the New

Framing Production and Value in Contemporary Performing Arts

Livia Andrea Piazza

Cite this publication as

Livia Andrea Piazza, The Concept of the New (2017), Verlag Barbara Budrich, 51379 Leverkusen, ISBN: 9783863883003


In this book the author takes the concept of the New as a starting point to open the way to a broader reflection on ar t production within neoliberal capitalism. Piazza explores the notions of innovation and New respectively in the Social Sciences and in the Humanities, tracing the differences from the conceptual and temporal perspective in relation to the most recent debates on creativity and postmodernism. The book investigates the field of theatre and dance, focusing on the essential aspects that link the New with the contemporary condition and its discourse. Combining theory and practice, this book calls for an art production able to slip out of the framework of innovation and builds the ground to rethink the New and its political value in the arts.


Livia Andrea Piazza, Piazza completed her PhD at Leuphana Universität Lüneburg in 2015. She works as a researcher in the field of Cultural Sciences and focuses on art and politics, engaging with different collective research platforms. As a practitioner in the field of contemporary theatre and dance, she works as an independent dramaturg and as a curator for experimental theory formats within arts festivals.


  • Cover
  • The Concept of the New. Framing Production and Value in Contemporary Performing Arts
  • Table of Contents
  • Introduction
  • 1. The New in Social Sciences
  • 1.1 The New as Unknown: the Notion of Innovation
  • 1.2 The Production of Innovation and its Temporal Dimension
  • 1.3 Perspectives from Sociology of Art
  • 2. The New in the Humanities
  • 2.1 Difference and Obscurity: The Notion of the New
  • 2.2 The Production of Difference and the New
  • 2.3 Duration and Value
  • 2.3.1 The Problem of Value
  • 3. The Present Time and the New
  • 3.1 Some Notes on the Avant-garde
  • 3.2 Postmodernism and the Future
  • 3.3 The Affirmation of Creativity
  • 4. On the Traces of the New at the Theatre
  • 4.1 Theatre across Reality and Fiction
  • 4.2 The Institutional Critique yet to Come
  • 4.3 Open Conclusions on Theory and Practice: Where to Start
  • 5. Empirical Research on the New: Methodology
  • 5.1 Balancing Theory and Empirical research
  • 5.2 Objectives and Research Questions
  • 5.3 Sampling and Data Collection
  • 5.4 Data Analysis
  • 6. The Concept of the New in the Theatre of the Present
  • 6.1 The Concept of the New in Practice
  • 6.2 From the Concept of the New to its Production
  • 6.3 The Theatre System and its Value(s)
  • 6.4 Art and Politics: Values and Roles
  • 7. The Production of the New in the Theatre of the Present
  • 7.1 Art Institutions as Frames
  • 7.2 The Collective Cultivation of Difference
  • 7.3 Curating Obscurity
  • 7.4 Roles and Rules: Impossible Possibilia
  • 7.5 Works in Progress and Failure
  • 7.6 Theatre Production in the Meantime
  • Conclusions
  • Reference List
  • Appendix I
  • Appendix II
  • Appendix III
  • Acknowledgements
  • Index

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