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 ?

IETM
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
How Steppenwolf Theatre Company is turning singlie-ticket buyers into repeat visitors. by Bob Harlow, Thomas Alfieri,Aaron Dalton, and Anne Field
IETM
After collecting more than 100,000 survey responses, Leo Sharrock and Helen Palmer can reveal the main reason people attend the arts.
IETM
This post is part of a series explores what it's like for an artist to have an entrepreneurial mindset, and all of the different challenges that can come with it.
IETM
Despite decades of investment in audience development and the current enthusiasm for all things data, arts organisations still aren’t getting it, says Michael Nabarro.
IETM
Since the 2011–2012 season, Mixed Blood Theatre in Minneapolis has practiced Radical Hospitality, providing no-cost access to all mainstage productions for any audience member.
Dr. Jane Chu
IETM
The Wallace Foundation announced a $40 million arts initiative, which will provide funding for approximately 25 arts organizations over six years to build and maintain audiences.

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