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 ?

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Goran Tomka looks at how arts and culture organizations can best engage with their communities.
Jamie Potter from Middle Child Theatre discusses how their New Critics' Programme is helping grow and diversify theatre criticism in the UK.
Nan van Houte talks about the importance of creative citizens and expresses a desire for funding bodies to better support cultural democracy.
Nan van Houte parle de l'importance des citoyens créatifs et exprime son désir que les organismes de financement soutiennent davantage la démocratie culturelle.
This is a book about participatory art and its more radical predecessor, community art. It is written from a perspective of engagement.
Lyn Gardner looks at how several British theatre companies are redefining their mission and expanding in ways to be of greater benefit to their communities.
Lyn Gardner examine comment plusieurs compagnies de théâtre britanniques redéfinissent leur mission et se développent à dessein de mieux servir leurs communautés.
Cultural institutions and organisations across Europe have enacted many forms of engagement, from co-creation processes (such as community art, immersive theatre, site-specific approaches) to actual forms of co-programming. In this scenario, the notion of active spectatorship introduces a new perspective.
Royal Opera House’s Swan Lake at DAGFEST 2018, Creative Barking and Dagenham Photo:  Jimmy Lee Photography
“It’s not somebody coming in to tell us we’re so uneducated we need to draw pictures!” – the words of a Made in Corby participant. Yes, that old chestnut again. Seems we’ve still not cracked it. Yes, there are some individual organisations doing great work, and yes there have been some well considered funding initiatives, but the overall pattern of who engages with arts and culture in England is still stubbornly stuck.
Why should we do participatory work? Is it possible for cultural institutions to manage cultural democracy? What are the power structures underlying participatory practices? To what extent is the participatory agenda aligned with the neoliberal agenda? How can we rethink participatory theatre? These questions were at the heart of the discussions of this IETM Munich session.

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