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当代法国的“表演艺术”~([1])始终徘徊在公共财政无偿资助与市场化的边缘,作家、导演和艺术家以经济形势对“舞台”的影响为由,极力证明公共资金支持的必要性,抑或从另一角度来提升这一艺术种类的地位,以证明其是人类的精神文化精髓而非商品的本质;而“表演艺术”的固有属性又决定了在以阶段性雇佣关系(短期劳动合同)占主导地位的劳动力市场中,艺术工作者始终游离于市场的特例与范例之间,进而置身于高度资本化的后工业社会现实语境之中,寻求职业保护与构
Contemporary French “Performing Arts” ~ ([1]) has always been on the brink of gratuitous subsidization and marketization of public finances. Writers, directors and artists have tried their best to justify the influence of the economic situation on the “stage” The necessity of financial support, or from another perspective to enhance the status of this art species to prove that it is the spiritual and cultural essence of humanity rather than the essence of the commodity; and the inherent attributes of “performing arts” in turn determine the In labor markets dominated by phased employment relationships (short-term labor contracts), art workers are always detached from the special cases and paradigms of the market and thus placed themselves in the context of highly capitalized post-industrial societies seeking occupational protection And structure