L’Afrique n’échappe pas aux débats sur les industries culturelles, déjà en vogue, au niveau mondial. Bien développées dans les pays du Nord, les industries culturelles connaissent cependant un développement très faible en Afrique. Dans le continent, si quelques pays ont des modèles réussis de développement de ce secteur, à l’instar du Nigéria ou de l’Afrique du Sud, les industries culturelles des pays francophones d’Afrique subsahrienne demeurent encore dans un état précaire. Cela semble probablement dû à une prise de conscience tardive de leurs enjeux, à des considérations socio-politiques, ou encore à une mauvaise compréhension des rôles des acteurs. D’où notre intérêt à étudier le rôle des pouvoirs publics dans le processus de développement des industries culturelles au Burkina Faso, à travers le sujet suivant : Les industries culturelles dans les pays francophones d’Afrique subsaharienne : cas du Burkina Faso. Pour mener à bien notre réflexion sur le sujet, la méthodologie a consisté aussi bien à un débroussaillage théorique et à des enquêtes de terrain, permettant de confirmer les hypothèses émises. Au Burkina Faso, les industries culturelles connaissent, par leur organisation, une certaine dynamique, malgré quelques insuffisances dans le développement des filières culturelles. Cette dynamique, favorable à la mise en place d’initiatives et d’évènements culturels d’envergure, fait sans doute considérer le pays comme un « carrefour culturel » en Afrique. Les industries culturelles génèrent des enjeux sociaux, politiques et économiques considérables pour le pays. Cependant, ces enjeux sont l’objet de conflits entre surtout les industriels de la culture et l’Etat. Aussi, est-il indispensable que les pouvoirs publics et les industriels de la culture travaillent en synergie, avec des rôles bien définis, pour prendre au sérieux les défis, pour un secteur plus viable, dynamique et durable. / THESIS SUMMARYAfrica is no exception to the debates on the cultural industries, already in vogue, at the global level. Although well developed in the North, cultural industries are less developed in Africa. In the continent, while some countries have successful models of development in this sector, like Nigeria or South Africa, the cultural industries in francophone countries of sub-Saharan Africa are still in a precarious level. This seems likely due to a late awareness of their issues, socio-political considerations, or a misunderstanding of the roles of the actors. Hence our interest in studying the role of public authorities in the process of cultural industries development in Burkina Faso, through the following subject: Cultural industries in francophone countries of sub-Saharan Africa: case of Burkina Faso. To carry out our reflection on the subject, the methodology consisted as well of a theoretical brusaillage and field investigations, allowing to confirm the hypotheses emitted.In Burkina Faso, the cultural industries are dynamic, by their organization, despite some shortcomings in the development of cultural sectors. This dynamic, favorable to the implementation of major initiatives and cultural events, makes the country as a "cultural crossroads" in Africa. Cultural industries generate considerable social, political and economic impacts for the country. However, these profits are the subject of conflicts between mainly industrial culture sector and the public sector. It is therefore essential that public authorities and cultural private sector work in synergy, with well-defined roles, to take the challenges seriously, for a more viable, dynamic and sustainable sector.

Cette recherche porte sur la façon dont les industries créatives, appréhendées en tant qu’idéologie et théorie scientifiquement construite, se déploient de manière non linéaire de l’international au local à travers les discours et pratiques d’acteurs hétérogènes (politiques, industriels, culturels…) jusqu’à leur opérationnalisation dans le cadre de politiques de reconfiguration du territoire local. Ces dernières désignent les politiques visant à transformer durablement la représentation d’un territoire donné. Pour ce faire, l’étude se concentre sur le cas du territoire métropolitain lyonnais, emblématique de plusieurs processus à l’œuvre depuis une quarantaine d’années (mondialisation, développement des TICN, décentralisation, métropolisation...) et des politiques de reconfiguration menées sur d’autres territoires (Berlin, Reims, Lille…). L’analyse se déploie en trois temps.Tout d’abord, nous analysons comment les industries créatives sont définies et promues à travers les discours d’institutions internationales, nationales et locales (Unesco, DCMS, France Créative…). Trois types de discours se distinguent : ceux à visée entrepreneuriale explicite ; ceux abordant les industries créatives comme un ensemble de secteurs liés aux industries culturelles, auxquels sont adjoints quelques autres plaçant la « créativité » au cœur de leurs activités ; enfin, les discours les appréhendant comme le pilier central du développement territorial. Ces types de discours institutionnels ont cependant encommun d’entrer en résonnance avec ceux des promoteurs du nouvel esprit du capitalisme. Ensuite, nous accordons une attention particulière aux discours et pratiques des professionnels de la reconfiguration territoriale, à savoir ceux de la communication publique et territoriale auxquels s’ajoutent désormais ceux du marketing territorial. Ces professionnels constituent des intermédiaires contribuant à la diffusion des industries créatives par la promotion de présupposés, pratiques et agencements entrant en résonnance avec ceux diffusés dans les discours institutionnels. Si un lexique, des notions et méthodes issues des sciences de gestion supplantent les références faites à la créativité et aux politiques territoriales axées sur l’innovation et la créativité, un décalage s’opère cependant entre leurs discours et leurs pratiques effectives.Enfin, nous nous intéressons à la façon dont les industries créatives sont réinvesties dans le cadre de politiques de reconfiguration territoriale du territoire métropolitain lyonnais pour en susciter et diffuser une représentation créative. La réflexion s’articule ici sur la façon dont ces politiques portent sur une triple reconfiguration territoriale (tangible, réticulaire et symbolique). En particulier, nous nous intéressons à l’opérationnalisation des grands événements culturels et artistiques, des projetsd’aménagement du territoire et de réseaux d’acteurs mis en place sur le territoire dans l’objectif d’en susciter une représentation créative. Les pratiques et agencements mis en place sur ce territoire s’inscrivent dans la continuité ou entrent en résonnance avec ceux prescrits dans les discours institutionnels et dans ceux des professionnels de la reconfiguration territoriale.En définitive, nous montrons comment l’idéologie des industries créatives se déploie à travers les discours et pratiques d’acteurs hétérogènes qui entrent en résonnance et, de ce fait, contribuent à renforcer cette idéologie. Notre étude prête attention aux circulations, qui ne sont pas uniquement descendantes ou prescriptives mais qui sont aussi des réappropriations et des interprétations des industries créatives par ces acteurs. Les logiques propres aux acteurs étudiés sont mises en évidence, tout en soulignant comment leurs discours et pratiques entrent en interaction. / This research focuses on how creative industries, apprehended as ideology and scientifically constructed theory, deploy in a non-linear way from the international to the local through the discourses and practices of heterogeneous actors (political, industrial, cultural ...) to their operationalization as part of local territory policies of reconfiguration. These refer to policies aiming at transforming the territory image. This work focuses on the metropolitan area of Lyon, which is emblematic of several processes taking place for forty years (globalization, development of ICT, decentralization...) and reconfigurationpolicies conducted in other territories (Berlin, Reims, Lille...). The analysis deploys in three steps.First, we analyse how the creative industries are defined and promoted through institutional discourses (Unesco, DCMS, Creative France...). Three types of discourses are distinguished: those with explicit entrepreneurial goals; those addressing the creative industries as ensemble of sectors related to cultural industries, to which are added few others placing "creativity" at the heart of their activities; finally, the discourses that apprehend creative industries as the central pillar of territorial development. Nonetheless, these types of institutional discourses have in common to resonate with those of the promoters of the New Sprit of Capitalism.Then, we pay particular attention to discourses and practices of professionals of the territorial reconfiguration, namely those of the public and territorial communication to which are added those of the territorial marketing. These professionals are intermediaries who contribute to the diffusion of the creative industries by promoting assumptions, practices and arrangements resonating with those disseminated in institutional discourses. If a lexicon, notions and methods from management sciencessupplant references to creativity and territorial policies focusing on innovation and creativity, a gap between their discourses and their actual practices exists.Finally, we are interested in the way in which the creative industries are reinvested in the territorial reconfiguration policies of the metropolitan area of Lyon in order to create and disseminate a creative image. The reflection is articulated here on the way in which these policies are related to a triple territorial reconfiguration (tangible, reticular and symbolic). In particular, we are interested in the operationalization of major artistic and cultural events, spatial planning projects and stakeholder networks taking place on the territory aiming generating creative image. The practices and arrangements realized on the territory are in continuity or resonate with those prescribed in the institutional discourses and those of the professionals of the territorial reconfiguration.In the end, we show how the ideology of the creative industries deploys through discourses and practices of heterogeneous actors that resonate and, as a result, contribute to reinforce this ideology. Our study pays attention to circulations, which are not only downward or prescriptive but are also re-appropriations and interpretations of the creative industries by those actors. The logics of the actors studied are stressed, while showing how their discourses and practices are in interaction.

公共部門的組織運作相較於過去，正處在更為不穩定和動盪的環境之中，公部門必須提高其「創新」的能力以為因應，並由於治理網絡形式的顯現，也更加強調公部門創新的重要性。面對當前許多充滿高度複雜與棘手的公共問題，我們不僅需要公共創新的新途徑，同時也要為許多問題的解決方案提出必要的工具。無疑地，吾人必須關注如何透過治理網絡中行動者間的協力，即是公共管理者、民選官員、企業、非營利組織等行動者的協力，用以強化公共創新，因此，「協力創新」可以說是當前公部門創新的重要議題，同時也是公部門面對網絡治理亟欲尋求的新方法。簡言之，欲探究的「協力創新」，則是指以網絡為基礎的協力，促進治理過程中公部門的創新。 本研究主要聚焦在公共部門協力創新的理論與實務的討論，以下述兩個關鍵重點做為討論的主軸：一、重點是針對「公共部門的創新」，而非一般所談論的企業創新；二、著重於「跨部門間或網絡協力」的創新，並非單一組織內部的創新。研究問題包括：何謂是在公部門的協力創新？協力創新的過程需要具備哪些條件？網絡中的行動者如何透過協力過程以導引出創新？協力創新呈現的樣貌或結果為何？對文化行政機關而言，文化創意產業政策之推動，對文化行政官僚的協力創新經驗有何特殊性？協力創新的過程有何困難？如何克服這些障礙，以驅動協力創新？ 儘管公部門透過跨部門、跨組織的協力創新研究還處在發展萌芽的階段。在實務上，公部門必須審時度勢，在協力過程中透過制度設計，與行動參與者進行有效溝通、建立信任，並證明展現其領導、協調和整合的能力。因此，本研究關注協力創新在公部門的應用，一方面提出整合自公部門創新、協力治理文獻而發展出來的理論架構，另一方面也針對文建會在推動文化創意產業政策運用協力創新的過程和經驗，進行質化的實證研究，以提供公部門有關協力創新應用之理論面與實務面相互印證的機會。 研究發現公部門創新必須致力於創造更多的公共價值；政治的推力、回應外部發展趨勢、核心職能外新增業務的壓力、尋求和匯集外部資源、創造有利創新的組織文化是公共組織內外環境中存在激發協力創新的驅動因素；而網絡治理的領導能力、多層次與橫向溝通平台、互惠的信任關係基礎、良性的創新循環等是影響協力創新過程的關鍵因素；公部門適當的制度設計有利於協力創新的發展；協力創新的多元價值結果亦呈現出不同的創新類型。最後，本研究也針對協力創新的實務應用、制度設計及組織運作、文化創意產業推動方面提出若干建議。 / The importance of strengthening innovation in the operation and organization of the public sector is highlighted by both today's increasingly variable environment and the emergence of governance networks. The many complex and wicked problems that are currently encountered in civil sector indicates a need not only to innovate, but also to come up with necessary tools for solving multiple problems. No doubt the primary focus should be on uniting efforts among actors in governance networks, namely civil sector managers, elected officials, businessmen, and non-profit administrators, in order to strengthen public sector innovation. For these reasons, collaborative innovation is an important topic in public sector innovation and an anxiously pursued new method as the public sector faces collaborative governance. Moreover, collaborative innovation is network-based collaboration that promotes innovation in the public sector governance process. This study primarily focuses on theories of public sector collaborative innovation and discussions of actual practice in the field. The study revolves around two key points: a focus on public sector innovation as opposed to commonly discussed business innovation, and innovation in cross-sector collaboration or network-based collaboration as opposed to innovation within a single organization. Questions addressed in this study include: What is meant by public sector collaborative innovation? What are the prerequisites for collaborative innovation processes? How do actors within a network lead innovation through collaborative processes? What are the features or results of collaborative innovation processes? What special experiences have administrators of cultural bureaus had promoting cultural and creative industry policies with collaborative innovation? What difficulties are encountered during processes of collaborative innovation? How can these difficulties be overcome in order to spur collaborative innovation? Research of cross-sector and transorganizational collaborative innovation in the public sector is still in its developmental stages. Each collaborative process must be assessed through system design to ensure effective communication and the establishment of trust, as well as to verify leadership, coordination and integration capabilities. Therefore, this study concerned with the application of collaborative innovation in the public sector first constructs its theoretical framework on extant literature in the fields of public sector innovation and collaborative governance, and secondly is directed at the Council for Cultural Affairs use of collaborative innovation in its policies that promote cultural and creative industries. This study employs qualitative empirical research to provide opportunities for mutually verifiable theoretical and practical collaborative innovation applications related to the public sector. Results of this study suggest that innovation in the public sector should be directed at creating more public value. Governmental influence, response to external trends, pressure added by work extrinsic to core functions, the collection of external resources and organizational culture cultivating beneficial innovation are all factors that drive collaborative innovation in and around public organizations. Network governance leadership ability, forums for both horizontal and vertical communication, foundations of mutually beneficial trust, and healthy innovation cycles are all influential factors in collaborative innovation processes. Appropriate organizational design in the public sector spurs the development of collaborative innovation, and the manifold values of collaborative innovation result in different innovative forms. Finally, this study aims to make recommendations for the practical application, organizational design and operation of collaborative innovation, and the promotion of cultural and creative industries.

「漢唐樂府」將非物質文化遺產的南管音樂，結合梨園戲的科步，融淬成以「梨園樂舞」為表演訴求的嶄新團隊「漢唐樂府˙梨園舞坊」。本文即以「漢唐樂府˙梨園舞坊」所展演的作品：《梨園幽夢》、《教坊記》、《韓熙載夜宴圖》、《洛神賦》、《殷商王后》和《盤之古》為主要討論對象。以運用「文化資產」開創「文化創意產業」的研究觀點，結合「跨文化」與「環境劇場」等相關理論開展論述。旨在討論其如何透過文化創意思維，維護提升文化資產的符號價值，創新增添更多的符號元素於展演，使經典文化資產普及於現代視聽。結論透過漢唐樂府和其他新興南管表演團體的比較，突顯其透過多元取材和演出，轉化文化資產為文化創意產業的機制所在，並反思創作形式和內涵的拓展可能。

The aim of this paper is to investigate dominant beliefs and approaches to the "cultural entrepreneur" both within a public context, and also among business owners within the cultural field. What happens when ideas and attitudes in the public sector towards culture driven businesses meets the perspective of individual cultural entrepreneurs? This study is based on analysis of political documents about the cultural and creative industries (CCI) from the European union, national level and regional level. Interviews with six business owners in the field of culture and one representative of the Swedish region with the fictive name “Alma” has been conducted. The research is also based on participant observation in public seminars and conferences about the creative industries in Sweden. The paper mainly uses Queer phenomenological theory (Sara Ahmed) to analyze the informants life worlds and how they are oriented in the same. The study is also based on poststructuralist discourse analysis and the logics approach, developed by Jason Glynos and David Howarth when analyzing political documents. This research shows there is a complex and contradictory approach towards the CCI and the cultural entrepreneur based on idealized images about the artist and the businessman, idealized images thats been existing in the discourses over a long time and which created deep structures. The cultural entrepreneurs are being described as the hope and future of the economy and welfare in Europe and its regions and at the same time as something very costly which no one really have faith in. This dual approach is a contributing factor to change being prevented.

The script, Millennium Bridge, is an investigation into the passions and fears that are shaping contemporary Australia today. Charting the political climate of the past decade, at the play's centre a man is building a bridge from Australia to Asia. The central dramatic question being asked is &quotIn an environment where the emphasis on economic prosperity overrides that of human rights and freedom of speech--what will be the consequences for the Australian people?" The accompanying analysis of the ten-year period it took to write Millennium Bridge illuminates the significance of institutional issues on a play and playwright's development. Written from the perspective of a mid-career playwright, the paper argues that the professional and personal circumstances within which a work of art is created (and their effect on the playwright's confidence and financial capacities) are a significant determinant of the productivity of playwrights.

This exegesis examines the proposition that playwriting is an entrepreneurial activity when combined with the role of producer. The thesis demonstrates that, when a playwright combines the two roles and considers the development of a network of relationships in the process, positive steps can be made towards the marketing of a work and the career progression of the playwright. The issues of marketing and career progression are considered in a regional context. The thesis comprises the creation of a full-length theatrical work through the MA (Research) Program at Queensland University of Technology and an analysis of that journey in the context of regional theatre practice in Queensland. Nicolas Bourriaud’s theory of the Relational Aesthetic is used as a way of charting my practice and of examining how this approach might be appropriate to theatre-making in regional Australia. The paper establishes strategies by which the playwright, when also undertaking the role of producer, might manage the complex set of circumstances and interactions between the work, the community and the industry. Using practice-led research methodologies, the exegesis examines the process of the creation of a new play, Sinking, and explores, through the use of an autobiographical case study, what the process has meant to the author’s development as a playwright over a fifteen month period. The paper uses a network map to explore the interactions created through a rehearsed reading of the first draft of the play in October 2006 and, in doing so, demonstrates how a close engagement with the community formed the basis of the entrepreneurial strategy. The exegesis demonstrates that Bourriaud’s work connects very closely with the author’s practice and examines how the approach might be useful for other regional arts practitioners, particularly those in the early stages of their careers. The research aims to identify how the creation of the play, and the subsequent interactions generated within a regional community, can lead to opportunities to create connections both within the author’s place of residence and in broader theatre industry contexts, nationally and internationally, in order to provide commercial and professional outcomes.

The Australian music industry is growing and developing yet specific information about the ways in which distribution systems develop is limited. In this study I examined the growth and change of the Australian music value chain. This includes the development of digital distribution systems and the effect that peer-to-peer technology has on system development, specifically the disintermediation between consumers and artists to the detriment of the multinational value chains. The drivers of this change are broken into social and technical elements in order to describe the growth and change occurring. The method used included a comprehensive literature review and use of secondary data from key music industry associations. The Australian music industry is a subset of the global industry and is led by foreign markets and their methods in which music content moves from the creators to the consumers. The consumption patterns of Australian music consumers are changing. The overall value of the music industry is dropping as the new digital downloads market emerges and the overall volume of sales increases; this reflects similar trends in foreign markets. CD single sales have dropped and digital single sales (in MP3 format) have increased. However, there needs to be a balance in the future development of Australian music distribution systems between the needs of music consumers and the sustainability of music companies, where there is both connectivity and steady revenue flow. There are technical elements that have caused a movement away from the traditional forms of music distribution as new technologies facilitate the change, such as Apple's iPod and broadband Internet connections. Advancement of distribution systems has increased piracy levels and the response has been the implementation of digital rights management (DRM), which prevents connectivity. There are also social elements that affect growth and change such as connectivity, or the consumers freedom to choose when, where and how to listen to their music. When music product has a restriction placed upon it its value to the consumer drops. Multinational music companies have failed to recognise the value users place on the freedom to pick and choose and have tried to control rather than to co-develop systems that meets both parties needs.

Submitted by Márcia de Freitas Duarte (marcia.freitas.duarte@gmail.com) on 2015-06-09T09:18:35Z No. of bitstreams: 1 Tese - Márcia Duarte - Versão Final - Biblioteca.pdf: 21203549 bytes, checksum: 148d1658abe20953b0be2ce861bb3858 (MD5) / Approved for entry into archive by Pamela Beltran Tonsa (pamela.tonsa@fgv.br) on 2015-06-09T13:02:54Z (GMT) No. of bitstreams: 1 Tese - Márcia Duarte - Versão Final - Biblioteca.pdf: 21203549 bytes, checksum: 148d1658abe20953b0be2ce861bb3858 (MD5) / Made available in DSpace on 2015-06-09T13:41:03Z (GMT). No. of bitstreams: 1 Tese - Márcia Duarte - Versão Final - Biblioteca.pdf: 21203549 bytes, checksum: 148d1658abe20953b0be2ce861bb3858 (MD5) Previous issue date: 2015-05-11 / This thesis aims to understand the practices and actions of organising necessary for production /organization of a musical theatre show in São Paulo, in order to explore how materially heterogeneous relations and articulations sustain it and allow their presentations. The focus on practice and organising is aligned to the concern of Organizational Studies (OS) about how 'organizations happen' and in the understanding of the everyday organizational processes and practices, referring to the comprehension of organizations as a process (organizing) in constant state of (re)constitution. The literature in creative industries presents a lack related to the organization of creative goods or services, considering it focuses its attention more in the consumption of these products than in their organization or production. The notion of creativity is also pointed as just a human attribute, a talent or ability without emphasizing some creative or cultural goods or services only can happen or are produced considering the relations and actions between human and non-human elements. In organizational literature, theatre is studied as metaphor or as a sort of intervention/tool in processes of organizational changes or learning and not as a particular form of organization. Musical theatre, a creative industry, seems to be a consolidated activity in Brazil, mainly by the increase of large musical montages from Broadway shows and its increasing professionalization, particularly in the last decade and especially in São Paulo, SP. Its production differs from other theatrical genres by the number of professionals, the amount of investments and presence of technology highlighted in its sound, light and set design and stage management department, making it a fertile field for the exploration about how these actors get together and form the visible show (seen on the stage by the audience) and the invisible one (hidden behind the scenes). About this aspect, Actor-Network Theory (ANT), here used as theoretical and methodological framework , is an approach which provides an analytical repertoire for understanding the organization as the effect of a network of heterogeneous elements, with a stability temporarily achieved. This is a qualitative research and to achieve the aim of exploring the organization of a musical I carried out a fieldwork inspired in ethnographic principles along ten months in one company whose show was being presented in São Paulo between 2013 and 2014. From what was observed in the field, I described the associations and articulations between human and non-human actors, which are permeated by efforts to generate a stabilized order, even if precarious, which is here understood the musical itself (macro-actor or network-of-actors) and its more than three hundred performances during the season, resulting from actions in continuous (re)constitution. Negotiations concerning copyright acquisitions, particular aspects of the Portuguese language, the Brazilian audience, the bodies and voices of the Brazilian cast, the structural constraints of the theater, the production of documents, marking the rehearsing room, the articulation of the show via sound and image systems, the acquisition of specific equipment and the ‘calling system’ which allows to 'call the show' during the presentation are some of the themes I explored. In conclusion, with this research, I attempted to link the growing interest of OS field in relation to organising and some of the possibilities offered by ANT on the understanding of the multiplicity and heterogeneity inherent to organizational practices, in order to enrich the discussion of the organization and production of creative goods and services highlighting how the organization 'musical theatre show' is multiple and materially heterogeneous, and not only an idea related to human agency or creativity as production input, as emphasize the most descriptions related to creative industries. / Esta tese tem por objetivo compreender as práticas e ações de organizar necessárias à produção/organização de um espetáculo de teatro musical em São Paulo, a fim de explorar como as relações e articulações materialmente heterogêneas o sustentam e permitem suas apresentações. O foco nas práticas está alinhado à preocupação dos Estudos Organizacionais (EO) acerca de como ‘as organizações acontecem’, e na compreensão dos processos e práticas de organizar do cotidiano organizacional, remetendo ao entendimento das organizações como processos (organising) em constante estado de (re)constituição. O campo das indústrias criativas apresenta ainda lacunas pouco exploradas, referentes aos bens e serviços criativos. Seu foco de estudos está mais voltado para o consumo de tais bens e poucas pesquisas dedicam-se à sua produção e/ou organização. A própria noção de criatividade é entendida apenas como um atributo humano, talento ou habilidade, sem se enfatizar que alguns bens e serviços criativos e culturais apenas são possíveis a partir das relações e ações entre humanos e não-humanos. Na literatura organizacional, o teatro é amplamente estudado como uma metáfora ou como uma ferramenta de intervenção em processos de mudança ou aprendizado, sendo ainda raros estudos dedicados a explorar um espetáculo teatral como forma particular de organização. O teatro musical, inserido nas indústrias criativas, parece se consolidar no Brasil, principalmente pelo aumento de montagens de grandes musicais oriundos da Broadway, NYC, EUA, e sua crescente profissionalização, sobretudo na última década e, especialmente, na cidade de São Paulo, SP. Sua produção difere de outros gêneros teatrais pelo número de profissionais, investimentos e presença da tecnologia evidenciada em seus projetos de som, luz, cenografia e gestão de palco, tornando-o um campo fértil para a exploração sobre como atores se reúnem e formam o espetáculo visível (visto pelo público no palco) e o invisível (oculto nos bastidores). Sobre tal aspecto, a Teoria Ator-Rede (TAR), aqui utilizada como referencial teórico-metodológico, fornece um repertório analítico para a compreensão da organização como efeito de uma rede heterogênea de elementos, com uma estabilidade temporariamente alcançada. Para concretizar meu objetivo de explorar a organização de um musical, realizei uma pesquisa qualitativa, com inspiração etnográfica, na qual permaneci em campo durante dez meses junto a uma companhia cujo espetáculo esteve em cartaz em São Paulo entre os anos de 2013 e 2014. Descrevo, assim, como ocorreram as associações a articulações entre atores humanos e não-humanos, permeadas por esforços no sentido de gerar uma estabilização, um ordenamento, mesmo que precário, o qual é aqui entendido o musical (macro-ator ou rede-de-atores) em si e suas mais de trezentas apresentações durante a temporada, resultantes de ações em contínua (re)constituição. Negociações referentes a aquisições de direitos autorais, aspectos particulares da língua portuguesa, do público brasileiro, dos corpos e vozes do elenco brasileiro, as restrições estruturais do teatro, a produção de documentos, a marcação na sala de ensaios, a união do espetáculo via sistemas de som e imagem, a aquisição de equipamentos específicos e o sistema que permite ‘chamar o show’ durante a apresentação são alguns dos temas que exploro. Com esta pesquisa, busquei assimilar o crescente interesse dos EO em relação organising e algumas das possibilidades oferecidas pela TAR quanto à multiplicidade e heterogeneidade inerentes às práticas organizativas, com o intuito de enriquecer a discussão acerca da organização e produção de bens e serviços criativos, destacando como a organização ‘espetáculo de teatro musical’ é múltipla e materialmente heterogênea, e não apenas uma ideia exclusiva à ação humana ou criatividade como insumo de produção, tal como apregoa a maior parte das descrições referentes às indústrias criativas.

Syfte: Att undersöka huruvida scenkonstkompanier bildar industrispecifika kluster som ger upphov till gemensamma fördelar och därmed kan höja den konstnärliga kvaliteten.  Metod: En kvantitativ enkätundersökning bland aktiva svenska scenkonstkompanier som analyserats genom principalkomponentanalys. Slutsatser: Det tycks finnas ett kluster av scenkonstverksamhet i Stockholm. Klustret inkluderar dock inte alla kompanier som finns på platsen, vilket indikerar att scenkonst inte är ett bra begrepp för att avgränsa kluster. Genre, professionalitetsgrad och närvaron av en konstnärlig ledare som inte också ingår i ensemblen tycks vara viktiga faktorer för att förstå vilka verksamheter som bildar gemensamma kluster. / Purpose: To determine whether the Performing Arts form industry specific clusters that share positive externalities and improve artistic quality. Method: A quantitative study based on a survey among active Swedish performing arts companies, analyzed by means of a Principal Components’ Analysis. Results: A cluster of Performing Arts’ companies seems to exist in Stockholm. However, the cluster does not include all Performing Arts’ activities present in the area, indicating that Performing Arts is not a good delineator of the specific activities prone to form a common cluster. Genre, professionality and the presence of an Artistic Director who doesn’t take part in the ensemble seem to be important factors to predict liability to form local clusters.