Off Off Broadway, small dance companies, cooperative galleries - all are characterized by their small, family-like structures and highly committed members. The Emerging Arts looks at the milieu in which these groups exist ... what traditions they grow out of...how they were founded... and the development patterns they follow.

Proceedings of the Theatre Communications Group National Conference held at Princeton University, Princeton, New Jersey, June 18-24, 1980. The complexity of our society and the variety of forms by which we now receive information make it almost impossible for artists to be aware of major discoveries and visions of such thinkers as social and natural scientists. This conference will help us gain insights into the forces shaping our society, while at the same time affording us the opportunity to share ideas about the craft and visions that go into our art.

The author traces the history, growth, and development of representative, small companies in theater, dance, and visual arts. She examines small companies, compares them, and suggests new ways for their survival. Her examination is wide ranging and brings together material usually scattered.

This paper explores the reasons for the current dominance of the nonprofit form in the high-culture performing arts, and concludes that this development is a response to the need for price discrimination in that sector. The paper develops a model of a nonprofit performing arts organization based on this analysis, and employs the model to explore, first, the consequences to be expected if such an organization adopts any of various plausible objective functions, and second, the circumstances in which subsidies to such an organization are justified and the way in which such subsidies should be

CONTENTS
Preface.
The Board of Directors.
A brief history.
The goals.
The organization:
     A. Members and correspondent companies.
     B. Board of Directors.
     C. Committees.
     D. Staff.
Programs.
Publications.
Plans.
Member companies' performance schedule.
Comparative statistics.
Financial data.
The member companies.
The correspondent companies.

The arts festival movement has grown and diversified with amazing rapidity over the past ten years. As arts councils, arts centers, and city cultural affairs departments were created and multiplied, the festival concept became an important and effective vehicle for generating community involvement and unity. City officials and local governments have come to recognize this.

The authors assess the adequacy of the symphony's elite board of directors, who provide support for unmet operating expenses. They argue that for a board to function it must be able to transform the symphony into a community organization or resource with a broad base of support. Using the San Diego Symphony as a case study, they discuss how and why such a broad base of support is needed.

The authors conducted a series of interviews with individuals who have various roles in the orchestra -- conductor, musician, manager, etc. on the topic of orchestra governance, management and leadership. As the emphasis on individual wealth, power and privilege has given way to new divisions of social responsibility between the individual and the state, the tradition of personal administrative dictatorship and the consent which made it possible have been eroded.

The purpose of bringing together in one volume several dozen of the theatre's most productive leaders is to seek an experiential definition of theatrical producing and arts management, although with cognizance that definitive answers concerning the contemporary, living theatre are impossible to acquire. (Preface). The individual authors made these remarks as guest lecturers at the performing arts management classes of Stephen Langley at Brooklyn College during spring 1973.

The study consists of two parts. The first investigates the City Center audience in New York City. The second investigates tour audiences in San Antonio and Houston, Texas and New Orleans, Louisiana, and compares them to the New York audience. Seven weeks before the opening of the Joffrey spring 1976 season at the City Center Theater, the first of the Dance in America programs, which featured the Joffrey company, was broadcast on the PBS television network with support from the Exxon Corporation and the National Endowment for the Arts.