City Stages: Theatre and Urban Space in a Global City by Michael McKinnie

By Michael McKinnie

In each significant urban, there exists a posh trade among city area and the establishment of the theatre. City Stages is an interdisciplinary and materialist research of this dating because it has existed in Toronto on account that 1967. finding theatre businesses - their websites and practices - in Toronto's city setting, Michael McKinnie makes a speciality of the ways that the theatre has tailored to adjustments in civic ideology, surroundings, and economic climate.

Over the earlier 4 many years, theatre in Toronto has been more and more implicated within the civic self-fashioning of the town and preoccupied with the implications of the altering city political economy. urban Stages investigates a couple of key questions that relate to this development. How has theatre been used to justify yes different types of city improvement in Toronto? How have neighborhood genuine property markets motivated the ways that theatre businesses collect and use functionality house? How does the research of theatre as an city phenomenon complicate Canadian theatre historiography?

McKinnie makes use of the St. Lawrence Centre for the humanities and the Toronto Centre for the appearing Arts as case reports and considers theatrical businesses comparable to Theatre Passe Muraille, Toronto Workshop Productions, acquaintances in undesirable instances, and worthwhile Angel in his analysis. urban Stages combines fundamental archival study with the scholarly literature rising from either the arts and social sciences. the result's a complete and empirical exam of the connection among the theatrical arts and the city areas that condominium them.

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Extra resources for City Stages: Theatre and Urban Space in a Global City

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They argue that place patriotism occurs when property-value inflation is linked with cultural institution-building to create sentiments of local well-being. Logan and Molotch make a compelling case for the building of cultural institutions in the city as part of an urban ‘growth coalition’ of capitalists and their allies in city governments. In their formulation, cultural institutions marshal localist sentiments in favour of projects that can then be used as levers for private capital investment in the areas surrounding them: The growth machine avidly supports whatever cultural institutions can play a role in building locality.

There was little chance of it being built without this development revenue, since the City was, arguably, engaged in a financial shell game to make the project politically palatable and consistent with the fiscal image it wanted to promote of itself. Although the City of North York was a relatively wealthy municipality, the political climate had become very sensitive about expenditure from the property tax base. Lastman, furthermore, encouraged the idea that North York could be both parsimonious with the City treasury but beneficent with civic projects.

12 Henri Pirenne suggests that cities and cultural products together helped create an ideal of social mobility in late medieval Europe, one that would later inform the egalitarian principles of liberal democracy. He argues that cultural production was the corollary to European urbanization; the development of cultural products helped create an urban laity where ‘the burgher was initiated ... ’13 Aesthetic and civic discourses have often been mutually affirmative, and so it is necessary to be sceptical of claims, implicit or explicit, that civic politics taint theatre projects.

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