Facilitating emotion management: organisational and individual strategies in the theatre
2014 (English)In: International Journal of Work Organisation and Emotion, ISSN 1740-8938, E-ISSN 1740-8946, Vol. 6, no 2, 193-208 p.Article in journal (Refereed) Published
Detailed analysis of two theatre productions shows that the conceptof bounded emotionality can be used to tease out aspects of emotionmanagement that would not otherwise have been detectable. Non-instrumentalways to manage emotions – to facilitate emotion work – are used in situationswhere the goal is to produce quality performances, not to promote well-beingas such. The rehearsal period consists of phases that require different emotionmanagement strategies. In an initial phase, a secure working climate isestablished to deal with feelings of insecurity and shame. A creative phaseallows for role-related emotions, and a crisis phase calls for a balance betweenfrontstage and backstage regions. In a final phase, the ensemble closes its ranksand prepares to meet the audience. The director is expected to ‘manipulate withfinesse’, transforming his/her leadership role during the rehearsal process fromthat of boss to coach. Private, role-related and situation-related emotions aredifferentiated, showing how emotions are seized, channelled and divided inorder to direct emotional energy in effective ways. Finally, we discussimplications for organisations outside the theatrical domain.
Place, publisher, year, edition, pages
Olney Bucks: InderScience Publishers, 2014. Vol. 6, no 2, 193-208 p.
bounded emotionality, creativity, emotional climate, emotion management, shame, stage actors, theatre
Research subject Sociology
IdentifiersURN: urn:nbn:se:su:diva-108909DOI: 10.1504/IJWOE.2014.060930OAI: oai:DiVA.org:su-108909DiVA: diva2:761492