ABSTRACT This article examines the construction of taste and its implications for the socio-economic and aesthetic diversity of the theatre and performance landscape. It considers how tastes are produced and reproduced, both in relation to socio-political and cultural interpellation and in relation to embodied and personal experience. Beginning with Bourdieu’s Distinction, the article explores how tastes are produced in relation to class and cultural capital. It goes on to propose an ecology of four arenas of taste production: authoritative instruction, performances of self, the comfort of familiarity and the influence of associations. Each works in relation to the others and acknowledge the complexity of taste production, moving beyond Bourdieu’s generational model. These arenas of taste production are considered in relation to their implications in decision-making and judgements around the production, cultivation, resourcing and programming of arts practice. The article argues that taste is pervasive, infecting and inflecting judgements and decisions and, as such, needs to be acknowledged and used in the pursuit of greater diversity in the arts.

中文翻译：

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品味的产生：生态、交叉、影响

摘要 本文探讨了品味的构建及其对剧院和表演景观的社会经济和审美多样性的影响。它考虑了品味是如何产生和再生产的，既与社会政治和文化的质询有关，也与具体的和个人的经验有关。文章从布尔迪厄的区别开始，探讨了与阶级和文化资本相关的品味是如何产生的。它继续提出味觉生产的四个领域的生态学：权威指导、自我表现、熟悉的舒适感和联想的影响。每个人都相互联系，并承认品味生产的复杂性，超越了布尔迪厄的世代模式。这些品味生产领域的考虑与它们对艺术实践的生产、培养、资源和规划的决策和判断的影响有关。这篇文章认为，品味是普遍存在的，会影响和影响判断和决定，因此，在追求更大的艺术多样性时需要承认和使用品味。