Display candidate transaction variables for article
| Id | 901 | |
| Author | Staniškytė J. | |
| Title | From institutional fatigue to creative communication: Audience development in Lithuanian theatres | |
| Reference | Staniškytė J.; From institutional fatigue to creative communication: Audience development in Lithuanian theatres ;Nordic Theatre Studies vol:30.0 issue: 1.0 page:72.0 |
Link to article | https://www.scopus.com/inward/record.uri?eid=2-s2.0-85053631294&doi=10.7146%2fnts.v30i1.106924&partnerID=40&md5=19d4dd8325a2ebfb6ec8a945b44c67c3 |
| Abstract | A considerable decreasing number of visitors to artistic and cultural institutions, which in certain European countries has dropped 50%, the unfavourable demographic situation, receding public finances, the growing competitive ability of user-oriented, interactive entertainment industries, and the new technology sector, which is especially disturbing for artistic institutions in post-Soviet countries, where they are used to limit competition - these are the major issues that are forcing the decision makers of cultural politics to focus their attention on art audiences at the topmost institutional level. In the context of these transformations, the concept of audience development, denominated by Nobuko Kawashima “a conflicting term” almost two decades ago, is becoming even more complex. Placed at the centre of the political and financial agenda of the European Union (EU) by its cultural policy makers, it is, on the one hand, born out of the desire to place part of the financial burden of support for cultural institutions on the shoulders of the public, but on the other hand, it also signals the wish to shake up the passive European citizen, to activate his/her civic sense through artistic practices, or even to help “combat social exclusion”. The article focuses on the theoretical and practical implications as well as the effectiveness and limitations of various forms of audience development employed by publicly funded theatres in Lithuania. Empirical research is based on qualitative interviews with managers and art directors of Lithuanian theatre companies as well as focus group audience research. The larger questions about the possible outcomes of various audience development strategies - whether during these developments, Lithuanian theatres will become places of creative cooperation open to diverse audiences or simply fields of aggressive marketing - will be addressed as well. © Jurgita Staniskyte and Nordic Theatre Studies |
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| Described as a strategic, dynamic and interactive process of making the arts widely accessible and aiming at engaging individuals and communities in experiencing, enjoying, participating in, and valuing the arts through various means available today for cultural operators, from digital tools to volunteering, from co-creation to partnerships9 within the framework of the guidelines of the EUs cultural policy as well as the theoretical discourse of sociology, art research, marketing, and communication, the term audience development does not merely indicate an integrated approach towards the cultivation of the demand for the arts, but also presupposes a shift in the understanding of the recipient of artistic production - the spectator. . | International festivals or transnational artistic projects taking place in the major cultural centres surely encourage audience mobility. . | The principles of participatory culture have offered the contemporary audience wide possibilities to create content (or to participate in creating it): the functions that were once monopolized by cultural institutions and the media are now dispersed throughout the vast communication spaces; the networks and channels of easily accessible technologies produce new universes of personal interests and collective ambitions. . | The growth of participatory culture and personal content creation fostered by new media technologies manifested the importance of the audience in the processes of content creation and distribution. . | Therefore the call for the holistic approach to viewing the public and its diverse involvement in cultural life is mainly seen as a tool for combating the contradictions embedded in the notion of audience development. . | As a unique platform in the landscape of internet sites of Lithuanian theatres, Theatre ONLINE strives to make theatre appear more accessible and caters to the needs of various audience segments: it offers possibilities of a first encounter with a theatre experience in the form of performance recordings, interviews, opportunities to see the inside processes of performance creation (recordings of rehearsals) as well as information that can be useful for the core audience segment. . |
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