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To browse Academia. David Roesner. Theatre music as an artistic practice, as a career, and as an often crucial part of the aesthetic experience of theatre production is remarkably neglected, marginalized and undervalued in the German-speaking theatre landscape.
Theatre musicians and composers are often underpaid, overworked, critically unacclaimed, and academically ignored. If we look at theatre both as an organisation and an institution, it is inevitably an environment within which poltics and power play a significant part. Again, however, on the pages on this important and influential report, theatre music ians are not mentioned once.
In this paper I will therefore look at the intersection of a particular work environment, a hierarchy of aesthetic contribution and validation, and the politics of perception — or the lack thereof — in critical discourse about theatre music and theatre musicians.
By using qualitative research and discourse analysis, I hope to be able to offer at least some preliminary answers to the following questions: why are theatre musicians undervalued within the organisation and how does this manifest itself?