Theatre technicians as artists? A sociological study into career-trajectories and cultural capital

An artist hardly ever makes an artwork by him or herself, it is usually more a collaboration between different individuals (Becker, 1982). Yet, often only the artists are studied (Kordsmeier, 2017). From a sociological point of view it makes sense to take a look into all the contributors of a work of art. Kordsmeier (2017) has provided insight in stage mangers in theatre and concluded that they, as nonartistic workers have an influence on the artistic product. Following from that thought, the profession of theatre technicians has been chosen to study. After all, they are the people who see and work for theatre performances every day. To gain a better insight in not only the artistic influence, but rather the broader perspective of the profession of theatre technicians, this thesis focuses on the question: How are the career-trajectories and the personal cultural capital of theatre technicians in the Netherlands related? The theory of Bourdieu (1986) on the forms of capital is used as a foundation to define social and cultural capital. Newer theories on cultural capital by (Prieur, Rosenlund, & Skjott-larsen, 2008; Prieur & Savage, 2013; Thornton, 1995) are used to discuss the relevance of the Bourdieusian concept of cultural capital today. Furthermore, theories regarding multiple job-holding (Throsby & Zednik, 2011) and networking (Hesmondhalgh & Baker, 2010; Lee, 2011) are used to position the profession of theatre technicians in creative industries. This mixed-method study (n=13) used a questionnaire on cultural capital based on (Ganzeboom & Ranshuysen, 1994) and semi-structured interviews. Participants were theatre technicians aged 27-40 from the Netherlands that worked in various kinds of employment and for both theatres as theatre companies. It was found firstly, that the distinction between house and company technician can be made and that that distinction seems to be related to the amount of cultural capital. Here, operators and stage managers seem to have more cultural capital and are more involved in the artistic process of producing a performance. Secondly, multiple job-holding seems to be very common among theatre technicians. This presents itself in various combinations of employment. Finally, theatre technicians’ education seems to be less important than working experience in finding and maintaining jobs. On the one hand, this has to do with the network they find themselves in. On the other hand, by working theatre technicians gain cultural capital. Not only highbrow cultural capital seems to be important, but rather the broad cultural experience that they can apply to their profession.