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28 Chapter 2 Interrelations in the Arts and Creative Sector Chris N. Burgess and David B. Pankratz THIS CHAPTER EXAMINES the arts and creative sector’s highly interactive composition. Artists, arts organizations, and arts-related industries frequently interact, and in a variety of ways.They work together in creative clusters and have enough in common to be considered parts of a single sector of society—the creative sector. A dancer in a leading nonprofit, contemporary dance ensemble in New York City might well ask what he or she has in common with a dancer in a LasVegas review. Yet both might have experienced similar initial training and must cope with issues related to job opportunities, career prospects, retirement and health benefits, and ongoing professional development. While they may think of themselves as working in different worlds, as dancers they have more in common than might otherwise appear. A Budding Career in the Arts and Creative Sector Let’s begin with a hypothetical artist, Susan, and see how her career might touch various components of the arts and creative sector. Susan is an aspiring actress who plays the lead in several high school plays and receives support from the school theater teacher and a private drama coach.After high school, she enrolls as a drama major in state university. During her university training, she performs in productions and also gains experience acting on an unpaid basis in several roles for a local community theater. When Susan begins her professional career, she finds work in supporting roles at nonprofit theaters in Chicago. Susan works most often at a theater in a transitional neighborhood on the North Side of Chicago. The theater collaborates with several nonprofit organizations that are trying to revitalize the neighborhood.As a result of working on a strategic plan with a management Chap-02.qxd 2/25/08 3:39 PM Page 28 Interrelations in the Arts and Creative Sector 29 consultant, the theater commits itself to commissioning and presenting two original plays per season, including works focused on social justice issues.The theater’s artistic director identifies a contemporary novel that he thinks could be reworked for the stage. Executing the idea involves seeking advice from lawyers. One is a copyright lawyer who negotiates a contract between the novelist and the theater; the other is a First Amendment specialist, who examines whether a staged production based on the novel will raise challenges from groups who may find the piece offensive.The legal issues are settled, the show is cast and, Susan—who by now is a member of Actors’ Equity (the union for actors)—is cast in one of the lead roles. Lighting, set, stage, and costume designers are hired, along with a public relations and marketing firm. The show opens and receives glowing reviews from the local Chicago critics. Based on its growing reputation, the theater receives private foundation and state arts agency grants to develop and deliver an educational program for high school students based on the social justice themes in the play. Susan is among the actors who work in these schools, and the program is featured in pieces by journalists for local TV, newspapers, and a magazine.The theater also receives an award for educational innovation from the professional association for nonprofit theater, Theatre Communications Group (TCG). Susan does a brief presentation on the educational program atTCG’s annual conference and accepts the award. Meanwhile, the show is attracting attention from critics in New York and Los Angeles, and its run is transferred to another facility—a larger nonprofit theater in Chicago.The show has also attracted the attention of a commercial theater producer from NewYork who is interested in developing the play as a Broadway show.An agreement is negotiated between the producer , the theater, and the novelist, and a Broadway run is scheduled. Susan, who has been closely identified with her character during the Chicago run, tries out for the part in the Broadway production and is successful. The Broadway production takes place in a renovated theater that a group of historic preservationists and business people saved from the wrecking ball by securing public and private funds to help finance the theater’s renovation. The Broadway reviews are glowing, including those for Susan’s performance .An independent producer secures the rights to create a film based on the stage production, and a group of commercial producers takes on the project. Entertainment attorneys are engaged, along with the extensive array of occupations necessary...

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