churches hard to my diary gets incredibly full. I get ridiculously tired. they’re meet… And their expectations. (Methodist, V) I’m nowhere near meeting reflections on attitudes to working time also supported this assessment and the Performer’s general attitude of respondents that acting as artistic endeavour was distinct from real work (Dean 2012): not really a job, a I feel that directors, whoever, in the Acting’s it’s love. That’s why profession take advantage of be in a rehearsal and if they want that. Sometimes you’ll to go over will stay and let them get away with stuff and I why time…I think that’s they will push you because most people will just see it in that sense - that you have to give up your life for it, kind of thing. (Performer, M1) Another pointed example of underpinning (and for employers, enabling) ideology is this quote from an experienced performer: certainly the most enjoyable jobs done really [were] for no money ‘And I’ve ever whatsoever...Because the job of acting is an artistic endeavour when it you’re doing purely...and money be (Performer, E3). shouldn’t involved.’ Variations on this example of silent sacrifice were repeated by other performers and ‘pure’ was also echoed in the tenor of clergy interviews. Findings around the occupational ideology of art connect directly to clergy in their view of themselves as of ‘saviours souls’. got a calling, a vocation, that the Almighty has asked us to do something in We’ve particular mission for the includes the which…is joining…in God’s world…It
churches they’re hard to meet… my diary gets incredibly full. I get ridiculously tired. And I’m nowhere near meeting their expectations. (Methodist, V) Performer’s reflections on attitudes to working time also supported this assessment and the general attitude of respondents that acting as artistic endeavour was distinct from real work (Dean 2012): Acting’s not really a job, it’s a love. That’s why I feel that directors, whoever, in the profession take advantage of that. Sometimes you’ll be in a rehearsal and if they want to go over time…I will stay and let them get away with stuff and I think that’s why they will push you because most people will just see it in that sense - that you have to give up your life for it, kind of thing. (Performer, M1) Another pointed example of underpinning (and for employers, enabling) ideology is this quote from an experienced performer: ‘And certainly the most enjoyable jobs I’ve ever done really [were] for no money whatsoever...Because the job of acting is an artistic endeavour when you’re doing it purely...and money shouldn’t be involved.’ (Performer, E3). Variations on this ‘pure’ example of silent sacrifice were repeated by other performers and was also echoed in the tenor of clergy interviews. Findings around the occupational ideology of art connect directly to clergy in their view of themselves as ‘saviours of souls’. We’ve got a calling, a vocation, that the Almighty has asked us to do something in particular which…is joining…in God’s mission for the world…It includes the
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