By linking lifestyle studies with creative industries research, this article opens a new perspective on creativity and innovation management. We argue that artists in the creative industries have to bridge the gap between artistic work and the economic need for self-management, and that a bohemian lifestyle essentially supports them in doing so. The bohemian lifestyle, which is characterized by a devotion to art for art's sake, is an essential source for work motivation of artists and an increasing number of other creative workers. The article draws upon an empirical study into artistic work and employment in German theatres. Enacting a bohemian lifestyle enables actors as 'bohemian entrepreneurs' to integrate intensive self-management and self-marketing as well as subordination of private life to work into their artistic work life. Analysing the link between lifestyle and creative work is crucial for understanding the way in which creative workers become artists and, at the same time, entrepreneurs of their creative talent

SummaryIn creative or cultural production, work practices are shaped by both artistic and economic logics of practice. We apply a practice theory-framework to qualitative research in German theatres and analyse (i) the nature of the relationship between artistic and economic logics of practice and (ii) how art and business as reference points influence creative production. Exploring logics of practice in theatre reveals a central paradox of creative production: economic logics tend to crowd out artistic logics, and thus endanger the resources vital to creative production. Consequently theatre actors and theatres, as organisations, have to develop means of safeguarding artistic logics of practice in order to delimit the influence of economic logics. The article shows that despite of this need, no respective organizational routines have emerged. Rather, human resource management practices in theatres are highly personalized and theatre artists have to find their own, idiosyncratic ways of dealing with the tension between artistic and economic logics. We argue that the central paradox in creative production, which is caused by the necessity to manage and market habitually incorporated non-economic norms and values, is also of crucial relevance for other, especially knowledge-intensive industries.

Against the backdrop of the neo-institutionalist and national business systems approaches to the global -local question in international management, this paper discusses the implications of the rise of CSR in continental Europe for HRM and employee representation. Europe is undoubtedly subject to convergence processes, not least through the emergence of global CSR tools, yet the influence of national business systems remains visible too, as European companies tend to foreground different aspects of CSR to Anglo-American ones. Both HR managers and employee representatives are jostling for positions to shape the resulting adaptation processes. This situation highlights not only the importance of first-mover advantages in such a contested terrain but also the need for both HRM and employee representatives to gain internal legitimacy before being able to play an active role in CSR.

Resumen. A lo largo del texto se analizan las políticas culturales y los modelos de producción, distribución y financiación del sector teatral en la Comunidad de Madrid en las últimas décadas y el efecto que han tenido sobre trabajadores y trabajadoras del sector. Tras introducir los principales rasgos del contexto laboral posfordista en el que vivimos, se expone el modo en el que las Industrias Culturales y Creativas se han adaptado a este modelo. Centrándose en el caso del teatro he implementado una aproximación metodológica cualitativa basada principalmente en entrevistas en profundidad que permite analizar el efecto del contexto económico y político sobre las compañías. Concretamente, se define un modelo de producción que hemos descrito como "artesanía teatral" que se está extendiendo como única salida laboral para muchos y muchas profesionales del sector. Palabras Clave: Teatro; Artesanía; posfordismo; Industrias Culturales y Creativas; precariedad.[en] Dramatic Craftsmanship. Evolution and aftermaths of cultural policy in the case of theatre in Madrid since the 80's Abstract. The paper will discuss the cultural policies and the production, distribution and finance models of the theatrical sector in the Community of Madrid during the last decades and the effect they had on the workers. After introducing the main aspects of the post-fordist labour context we are living in, I will explain how Cultural and Creative Industries have adjusted to it. Focusing on the case of theatre I implemented a qualitative methodological approach based mainly on in depth interviews which allow analysing how the economic and political context influenced theatre companies. In particular, I will be defining a production model I have named "dramatic craftsmanship", which is expanding as the only way to enter or stay in the job market for many professionals.

There is much evidence that Corporate Social Responsibility has increasingly become embraced by industry in Europe. The transfer to Europe of what essentially is a concept embedded in American capitalism, however, results in some interesting contextualizations. One of the most interesting of these is the impact of CSR on one of the most powerful actors to determine the social responsibility of corporations in the European context, namely trade unions and their institutional infrastructure. In many cases unions perceive CSR as a threat, as it transfers yet more power and discretion to managers. By contrast, trade unions in countries with a strong corporatist tradition claim to be themselves drivers of CSR. An altogether different situation exists in Eastern Europe, where unions lack the legitimacy and influence to shape the emerging CSR agenda. Given such a spread of positions, what similarities and differences can be detected in union approaches to CSR? Which specific aspects of CSR are supported by European unions? How have European unions adapted their strategies in response to CSR? This article employs an institutional comparison perspective of selected European countries to explore the role unions play in CSR activities. It maps out the conceptual territory and provides one of the first overviews of the topic. Copyright © 2006 John Wiley & Sons, Ltd.