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 ?

jweijdom
The 6th issue of our Fresh Perspectives publication series Mixed Reality and the Theatre of the Future explores the issues at stake when designing a mixed reality experience in the context of theatre and performance.
fbittencourt
It can often be challenging in the performing arts to engage with audiences on a relational level. Constraints of time, space and place can combine to restrict and contract the audience experience.
fbittencourt
Many culture makers have embraced the theme of Audience Development (AD); we all want audiences, preferably large and enthusiastic ones. But how can we demonstrate to our investors that we have taken the task seriously?
Agnes Bakk
Kirsty Sedgman‘s background is in performance studies, which, according to her, tends to make big assumptions about audiences: who they are, why they attend, and what they get out of theatre. After encountering the rich field of audience studies, she became committed to research that talks to rather than talks about audiences.
Nan van Houte
From 26 to 29 January, IETM organised a Caravan meeting in Tehran, coincided and partly hosted by the Fajr International Festival. Since we preferred to meet with a broader slice of the performing arts scene, especially the ‘independent’ artists and those forced to work ‘underground’, our daytime programme was compiled by several partners in Tehran.
fbittencourt
Requiring students to attend the theatre can backfire. So how do you attract and inspire theatregoers of tomorrow?
image from International Arts Manager
Elena DI FEDERICO
The last time you watched a show at the theatre, how much did you pay? Was it worth the price? Pay what you decide (PWYD) theatre turns the question on its head, empowering audiences to choose how much money they want to spend. However..
Marta
Are there significant cross-country differences in the frequency of visits to cultural sites? Are the socio-demographic and economic correlates of visits to cultural sites similar across EU countries? Is income more important than education in determining frequency of visits to cultural sites? We provide answers to these questions that preoccupy policy makers, managers of cultural organizations, and students of cultural inequality.
Elenq
I’m a young. It’s what my friends and I call ourselves—the youngs. And indeed, in my country of residence, Israel, I’ll be a young for a long while yet. This past month, while visiting my family in Seattle, WA, I went to the theatre a few times. I was shocked to realize that at twenty-six, I no longer qualified for a “young” audience ticket. Even further, I was shocked to discover that the price differential was approximately forty-fifty dollars. Finally, I was shocked to sit through performances with half-empty houses. As a young, then, I’m prone to getting a little hot and bothered about...
Elena DI FEDERICO
Plenty Productions shares its experience of developing new audiences for its show Snakes and Ladders through outreach and targeted marketing activity. An interesting read to learn how to engage Black and Minority Ethnic (BME) audiences, involving communities in touring productions, and developing audiences for touring productions.

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