Details on article
|Author||Bonet, L., ; Négrier, E.,|
|Title||Breaking the Fourth Wall. Proactive Audiences in the Performing Arts|
Bonet, L.; Négrier, E. (eds.) (2018). Breaking the Fourth Wall. Proactive Audiences in the Performing Arts. Elverum: Kunnskapsverket.
|Keywords||Audience empowerment; Cultural participation; Performing arts; Artistic quality; Organizational challenges; Creative residencies; Co-programming; Prosumer; Cultural capital
|Link to article|| http://www.ub.edu/cultural/wp-content/uploads/2018/06/Breaking-the-fourth-wall.pdf
|Abstract||This book is one of the outputs of the Be SpectACTive! EU-funded project. It is not a conference proceedings, although the reflections derive from a conference entitled "The Proactive Role of Live Performance Audiences", organized in Barcelona at the end of 2016. This book gives an important place to the controversies surrounding the question of participation in the cultural and artistic fields. This debate gathers researchers who have developed through their work an original and documented point of view on the issue. Then, it brings together those who have been active in Barcelona among cultural, academic and artistic actors. Thus, this book proposes a dynamic state of the considerations that accompany the Be SpectACTive! project since its launch, at the beginning of 2015.
|Metodology||The book is structured in two parts. The first contains theoretical contributions of researchers who develop their vision of what participation means in culture, each one in his/her field and disciplinary environment. The second part of the book extends this perspective to seven main goals of participation in the cultural sector. Each theme was proposed to be discussed during specific workshops at the Barcelona conference on the proactive role of live performance audiences. We commissioned to the conductors of each session to write their own reflections on the issue. At the same time, the synthesis of the debates was made by a second group of experts.
|Findings||There are definitional challenges provided by the key term "audience development". There is a pernicious perception in much of the literature and rhetoric about arts audiences which suggests that the act of audiency is passive. In order to move the debate forwards, it is important to argue for a decoupling of audience recruitment and diversification from practices of audience enrichment. It is suggested to substitute audience development with the enactive conception of audiency. Enaction implies audience immersion; it situates audiences at the heart of an artistic experience and acknowledges that they are engaged in performance in a deeply phenomenological way. We are living through a period of transition in the arts: transition from creation towards co-creation; from marketing towards engagement; from hierarchical power towards distributed leadership; and from outmoded perceptions of spectatorship towards an enactive conceptualisation of audiency. This suggests that future-proof organisations will be artistically led but audience-centric and create an open habitus or community of practice.
|Search Database||Researcher knowledge