Développement des publics

Les artistes donnent un sens aux œuvres d’art, mais le public leur donne la vie – ou vice versa ?

Peu importe pour qui nous créons (ou nous pensons créer) ¬ pour nous-mêmes ou pour eux ¬ sans un public, nous ne pouvons ni prouver la valeur intrinsèque de nos pratiques, ni gagner notre croûte.

Comment pouvons-nous nous assurer que notre société qui change si rapidement n’arrêtera pas de contribuer aux arts ? Comment établir un lien mutuellement enrichissant entre les artistes et leur public ? S’agit-il de relations authentiques ou de stratégies marketing ¬ ou les deux ?

Share

Making sense of audience engagement walks a very fine line between usability and depth and manages to be both critical and practical. It is a valuable insight into a range of US based audience engagement practices. Unlike many audience development publications, this one is based on a clear definition of what it means to be engaged in an artistic experience and offers valuable and usable models for thinking and working on creating memorable artistic experiences.
Public policies and practices for access
Developed through Open method of Coordination (OMC) among EU member states, this report sets as its goal to make an overview of policies and good practices for widening the access to culture implemented by public cultural institutions and policy-makers all over EU. Although it is not performance arts specific, it is a good place to go for an overview and idea-seeking. It is however not flawless due to its somewhat restricted view on culture and participation to institutionalised cultural life.
Over the course of the XX century, spactatorship has fell from grace of critical thinkers. As it became interlocked with passivity, spectatorship has come to be viewed as a remnant of old, hierarchical, mindless days of thetrical practices. In his famous lecture turned article turned book, Ranciere emancipates spectator, claiming that such a dominant view on spectatorship is itself discriminatory - there is much more going on in the head of a seemingly passive spectator that we usually come to think. And this is no news for anyone, we all are thoughtful yet often in the position of spectators...
Kawashima - Beyond attenders
Nobuko Kawashima's research paper is one of the first (and best) critical studies into audience development in policy and practice. In 2000, before audience development has swept the plains of all European cultural policies, Kawashima questioned assumptions, expectations and realities of policy on audience development. Namely, she claimed that there is an assumption that participation in cultural activities is good for everyone and desired by all, and that cultural participation is only a matter of certain removable barriers. However, as she formulates it: "such an idealistic view of culture...
Data suggest that some types of cultural organizations are perceived as more welcoming than others. Here’s how we could do better.
"Many organisations will have a subjective view of most of their audiences. To highlight this, I’m going to consider what I might look like to some of the organisations I’ve visited in the past year. I may only be one person, but you’ll see I look very different to the organisations I chose to visit."
In a world where individualism has killed cooperation and the capacity for being and working together, where cooperation sucks and self-reliance seems so cool, we are smoothly and consistently dismantling all social ties. Why am I supposed to do something with my neighbours? I'd rather do it alone. Cultural initiatives that challenge this extremely individualized model of the world are worth closer attention, as they help us re-establish social ties and our trust in others.
Performing arts allow us to creatively challenge digitally remediated experience, and to collectively reflect on and explore its prolific scales, materials, and modes of existence. Through celebrations of diversity and idiosyncracy, live performance helps us counter the normative pressures of digitisation. My keynote looks at how theatre - Artaud's crucible - is a uniquely powerful means for mobilising the poetic energies that characterise what is human, and what it is to be human. This in turn is seen as a source of vital resilience, tuning our senses of liveness to digital - and post-digital - times.
Cet article de Benjamin Hoguet cite notamment une création de la compagnie anglaise Blast Theory, KAREN, évoquée dans le mapping Le spectacle vivant à l'ère du numérique : un tour d'horizon.
This free book profiles case studies of innovative audience development approaches led by arts organisations that the foundations funded in their communities.

Pages