Abstract

The patterns of union representation and collective bargaining in the performing arts have very peculiar characteristics. Behind the anomalous forms of collective representation of the interests of entertainment workers are labor relations marked by as many deviations from the standard. The Authors of the essays first ask whether the “peculiaritiesµ of labor in the performing arts reflect actual needs for ad hoc regulation, or whether instead these peculiarities pertain to an ideal, but not real, representation of the performer; secondly, they ask whether the observation of the characteristics of individual labor relations in the albeit narrow sphere of the performing arts can serve to shed light on the broader dynamics that affect, or in the future may affect, labor relations in general