All the World's a Stage – the Information Practices and Sense-Making of Theatre Professionals

Olsson, Michael

doi:10.1515/libr.2010.021

Cited by 45 publications

(39 citation statements)

References 13 publications

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“…In this article we have drawn on material from all these traditions, but they have very different philosophical roots. A Foucauldian perspective could also have relevance (Olsson, 2010). Future research will need to see how these differing perspectives can be reconciled.…”

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confidence: 99%

What everybody knows: embodied information in serious leisure

Cox

Griffin

Hartel

2017

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What every body knows: Embodied information in serious leisure AbstractPurpose: The aim of this conceptual paper is to reconsider the role of the body in information in serious leisure by reviewing the potential to theorise the role of the body in information behaviour within serious leisure by drawing on practice theory, phenomenology, sensory studies and embodied cognitionexisting work in information behaviour that theorises the role of the body, and by drawing selectively on literature from beyond information studies to extend our understanding.Approach: After finding a lack of attention to the body in most influential works on information behaviour, the paper identifies two a number of important authors who do offer an initial theorisations. It then explores what can be learnt by examining some studies of embodied information in the hobbies of running, music, and the liberal arts, largely frompublished outside the discipline. Findings:Auto-ethnographic studies influenced by phenomenology show that embodied information is central to the hobby of running, both through the diverse sensory information the runner uses and through the dissemination of information by the body as a sign. Studies of music drawing on the theory of embodied cognition, similarly suggest that it is a key part of amateur music information behaviour. Even when considering the liberal arts hobby the core activity, reading, is itself in has been shown to be in significant ways embodied. The examples reveal how it is not only in more obviously embodied leisure activities such as sports, in which the body must be considered. Research implications:There is a significant gap in the theorisation of information behaviour around the role of the body Embodied information refers to how we receive information from the senses and the way the body is a sign that can be read by others. To fully understand this more empirical and theoretical work is needed to reconcile influencesights from practice theory, phenomenology, embodied cognition and sensory studies.Originality/value: The paper demonstrates how and why the body has been neglected in information behaviour research, reviews current work and identifies perspectives from other disciplines that can begin to fill theis gap.

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confidence: 99%

What everybody knows: embodied information in serious leisure

Cox

Griffin

Hartel

2017

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“…Ann Medaille 46 and Michael Olsson 47 both found theatre artists rely heavily on sharing information with collaborators during the production process. This emphasizes what most of the dance scholars stated: their peer network is the most relied-upon resource.…”

Section: Discussionmentioning

confidence: 99%

Artists as Scholars: The Research Behavior of Dance Faculty

Robinson¹

2017

CRL

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. © 2016 Shannon Marie Robinson, Attribution-NonCommercial (http://creativecommons.org/ licenses/by-nc/3.0 /) CC BY-NC.The research behaviors and library use of dance scholars are widely unknown, particularly in regard to issues of access to historical materials and new technology preferences. In the past thirty years, college and university dance departments in the United States have developed into independent, research-based programs. Despite the lack of current research examining the information needs of dance scholars, academic librarians must support the performance, research, and pedagogy of these programs. Interviews with dance faculty from three diverse institutions of higher education provide exploratory data about these scholars' research needs. This qualitative study provides context for dance faculty experiences as both artists and teachers.he academic discipline of dance has a relatively short history. Dance was first accepted in higher education through an association with physical education. Eventually the discipline became aligned with the arts, particularly music and theater. Given the brief history of dance as an academic endeavor, there is a corresponding lack of information about dancers and their research needs.To understand the information needs of dancers in higher education, dance faculty from three universities were interviewed about their information-seeking practices and research needs. These interviews provide exploratory, qualitative data about these scholars' research experiences. Because many academic librarians charged with liaison responsibilities to dance departments do not have backgrounds in dance, the results of this research project will enable them to keep current on dancers' information needs and desired services.

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“…The present article draws on the findings of a larger study of theatre professionals' sensemaking (Olsson 2010a;2010b;2012). Methodologically, the study was a bricolage, adapting approaches and techniques from a variety of disciplinary traditions, including critical discourse analysis, communication and education, as well as information behaviour/practices research.…”

Section: Methodsmentioning

confidence: 99%

Making Sense of Shakespeare: a Cultural Icon for Contemporary Audiences

Olsson

2013

CCS Journal

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The works of William Shakespeare are more popular in the 21 st century than ever before. Why are theatre and audiences around the globe still drawn to his work? How do they make sense of these texts in ways that resonate with their cosmopolitan, contemporary audiences? This article uses the findings of a study interviewing 35 theatre professionals in Canada, Finland and the United Kingdom to explore these issues. Theoretically and methodologically, it is a bricolage, drawing on a range of approaches including Foucault's discourse analysis, and Hobsbawm's invented traditions to understand participants' sense-making as a social practice. It argues that attempting to understand the significance of a major cultural icon such as Shakespeare in contemporary cosmopolitan civil society needs to recognise the many meanings, roles and significances that surround him and that this complexity makes it unlikely that any one theoretical lens will prove adequate on its own.

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All the World's a Stage – the Information Practices and Sense-Making of Theatre Professionals

Cited by 45 publications

References 13 publications

What everybody knows: embodied information in serious leisure

What everybody knows: embodied information in serious leisure

Artists as Scholars: The Research Behavior of Dance Faculty

Making Sense of Shakespeare: a Cultural Icon for Contemporary Audiences

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