03534 - Entertainment Organisation and Economics

Learning outcomes

By the end of this course, students will:

• know the historic evolution of the Italian theatre system; the laws to manages theatre’s events; the problematic issues of theater production and distribution; the fundamentals of public and private funding to cultural activities;
• develop skills for working in national’s cultural institutions, as they will be able to collaborate in production, promotion and communication.

Course contents

This course, made of two units, will be held in blended learning mode. Unit 1 will consist of lectures; Unit 2 will be in e-learning teaching mode (on moodle).

Unit 1 (lectures):

1) The system of live performance in Italy: the course will provide a general outline of the system of live performance in Italy, its historical origins and current set-up.

2) Entertainment and background: planning cultural event, it also means being able to identify the connection between the projects to be carried out and the background.

3) Theatre and other kinds of festivals: festivals as a way to organize and spread culture are very common nowadays. Starting from cases of theater festivals, they will be dealt with many types of festivals that today enrich the cultural activities everywhere.

4) Basics of project management, communication and cultural marketing: Project Management, Communication Theory and Cultural Marketing are becoming common and indispensable work tools for cultural operators.

Unit 2 (online on moodle):

1) Quiz and forum.

2) How to organize a cultural event: only attending students, in small groups, will agree with the teacher activities aimed to apply the theoretical contents of the course.

Readings/Bibliography

-M. Gallina, Ri-organizzare teatro. Produzione, distribuzione, gestione, FrancoAngeli, Milano 2014.

-M. Gallina, O. Pontedipino, a cura di, Oltre il Decreto. Buone pratiche tra teatro e politica, FrancoAngeli, Milano 2016.

-A. Bollo, Il marketing della cultura, Carocci, Roma, 2012.

-L. Argano, La gestione dei progetti di spettacolo. Elementi di project management, FrancoAngeli, Milano, 2010.

-Pasquale Gagliardi, Il gusto dell’organizzazione. Estetica, conoscenza, management, Guerini e Associati, 2011.

Non-attending students shall prepare one text chosen among the following:

-L. Argano, P. Dalla Sega, Nuove organizzazioni culturali. Atlante di navigazione strategica, FrancoAngeli, Milano, 2010.

-A. Carù, S. Salvemini, Management delle istituzioni artistiche e culturali, Egea, Milano, 2011

-Roberto De Lellis, Le regole dello spettacolo, Bulzoni, Roma, 2009.

-Paul DiMaggio, Organizzare la cultura. Imprenditoria, istituzioni e beni culturali, il Mulino, Bologna, 2009.

-A. Foglio, Il marketing dello spettacolo. Strategia di marketing per cinema, teatro, concerti, radio/tv, eventi sportivi e show business, FrancoAngeli, Milano, 2005.

-M. Gallina, O. Ponte di Pino, Le buone pratiche del teatro. Una banca delle idee per il teatro italiano. Con 140 buone pratiche schedate e commentate, FrancoAngeli, Milano, 2014.

-D. Haselbach, A. Klein, P. Knüsel, S. Optiz, Kulturinfarkt. Azzerare i fondi pubblici per far rinascere la cultura, Marsilio, Venezia, 2012.

-A. Taormina, Osservare la cultura, FrancoAngeli, Milano, 2012.

-A. Turrini, Politiche e management pubblico per l'arte e la cultura, Egea, Milano, 2009.

Teaching methods

Lectures with the support of PowerPoint presentations and Web sources.
The course will also host meetings with manager of the organization and communication world.

Assessment methods

Students will be first assessed during the lectures, as involved in active discussion of the topics. This dialogue aims to bring out any difficulties concerning the subject, not to form the final mark.

The final examination will consist of a written test with several open-ended questions, one question for each text of the recommended bibliography. The questions will normally concern a general description of the topic as well as a more detailed description highlighting idiosyncrasies and facets.

The exame will take account of the propriety and the adequacy of written linguistic expression:

30 cum laude: excellent performance showing soundness of knowledge, rich discursive articulation, appropriate expression, interest of critical contribution;

30: Excellent performance, complete, and appropriate knowledge, well-articulated and appropriately expressed, with interesting critical contributions;

29-27: Good performance, more than satisfactory knowledge, correct expression.

26-24: Standard performance, essential knowledge, but not comprehensive and / or not always correctly expressed;

23-21: Sufficient performance, general but superficial knowledge; often inappropriate expression and/or confused articulation of speech;

20-18: Poor performance, sufficient expression and articulation of speech with significant gaps;

<18: Insufficient performance, knowledge absent or very incomplete, lack of orientation in the discipline, poor and seriously flawed expression.

Teaching tools

Video projections, web sources, meetings with experts.

Office hours

See the website of Matteo Casari