OUTPUTS

In the existing industry, a director who is well versed in his or her craft, and who has relevant stories to offer and good abilities to lead these visions into practice, is often enough. For a long time, to interpret and develop the classic, as well as the new repertoire, formally and substantively, has been where the challenge lies. This approach is embedded in a hierarchical pattern where the playwright/director/and partly set designer have been the concept-developing artists.
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At the island Holmen in Copenhagen some of the most expensive educational institutions in Denmark are placed. Art schools with different disciplines, art forms, languages andprocesses. But also schools with similar circumstances, narratives and challenges: Seeing themselves as the ‘worlds best school’ and being forced to create the ‘worlds best actors, directors, architects, designers, filmakers....’.
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In recent years, a constant significance has been given to the relation between the arts and arts education, including the performing arts, and entrepreneurship. Not surprisingly, though, the reception to the possibilities and implications involved in this relation is dissimilar.
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El término emprendimiento ha sido tratado desde la antigüedad pero ha sido recientemente, desde principios del siglo XXI, cuando ha alcanzado su máxima difusión, entendido como aptitud y actitud de personas y empresas para enfrentarse a nuevos retos que permiten avanzar, innovar y alcanzar nuevas metas de progreso y desarrollo en el avance de las empresas.
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1. Training and education in cultural management: brief situational analysis; 2. Basics in cultural entrepreneurship; 3. Important topics when teaching cultural entrepreneurship; 4. Starting a new program or course in cultural entrepreneurship; 5. The importance of interactivity in teaching cultural entrepreneurship.
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