Audience Development

Artists give meaning to the work of art, but the audience gives it life - or vice versa?

No matter for whom (we think) we create - for ourselves or for them, without an audience we can't prove the extrinsic value of our practices, nor can we earn our bread and butter.

How can we make sure our rapidly changing society doesn't abandon the habit of participating in the arts?  What are the ways to develop a mutually enriching and continuous connection between artists and audiences? Is it about authentic relationships or marketing strategies - or both?

Fernando BITTEN...
Intrinsic impact es la solución integral diseñada para extraer valor de los comentarios, opiniones y sugerencias de la audiencia. Las organizaciones artísticas están muy motivadas por captar los datos de su público/visitantes, pero se ven sobrepasadas por los costes y la experiencia requerida para que el trabajo de investigación sea relevante y sostenible en el tiempo.
Elena DI FEDERICO
Culture.Shift is a practical, hands-on guide to strategic audience development for the performing arts in Europe. It aims to be a companion to creative leaders interested in developing their audiences and creating deeper connections with their communities. It wants to encourage and support performing arts organisations on the road to a more strategic approach to audience and community engagement.
Victor MAYOT
Each day, as the ongoing chaos in our world is on full display in the media cycle, I'm reminded of how essential arts organizations are to our communities. They provide a home and a platform for conversations and artistic expression that our society thirsts for. But I'm worried about them. Currently, they're fighting a range of headwinds that threaten their very existence -- and it's not just isolated cases. From challenges with fundraising and decreased arts coverage in press outlets to the struggles of growing an audience base to, much more recently, security concerns, there are many things...
Fernando BITTEN...
Whether online or in person, open rehearsals are becoming a regular event for professional dance companies in Australia and overseas. Where, previously, open rehearsals were reserved for company donors and, in some cases, student groups, the past decade and a half have seen open rehearsals opened to the general public as a strategy for audience development and education.
Fernando BITTEN...
For a theatre company, its primary product – art on stage – remains platform specific, despite the always-encroaching live streams in movie houses. Ideally, audiences will continue to appreciate the unique nature of watching theatre live on stage. However, the content surrounding a play or musical should be far from a fixed experience. And audiences are craving context.
ietm@ietm.org
A great amount of time, energy, and resources are put towards bringing in new, non-traditional audiences. But what are we doing with those newbies once they arrive? How are we treating them to ensure they come back?
ietm@ietm.org
This four-part series documents the experiences of a young, Fulbright fellow, avidly exploring theater and life in Bucharest, Romania.
ietm@ietm.org
Taking as its starting point the Nordic cultural policy debates surrounding audience development, which concentrate either on reaching out to new target groups or on artistic quality, this article suggests that the focus on the audience’s experience of theatre performances has thus far been underdeveloped.
ietm@ietm.org
How Steppenwolf Theatre Company is turning singlie-ticket buyers into repeat visitors. by Bob Harlow, Thomas Alfieri,Aaron Dalton, and Anne Field
ietm@ietm.org
After collecting more than 100,000 survey responses, Leo Sharrock and Helen Palmer can reveal the main reason people attend the arts.

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