“Some people like to just observe. Some people prefer to read. Some people prefer to be told a story in a movie. So, in the department of exhibitions, we have people that think in all these different ways and we have to balance it out between all of us to get an exhibition that is attractive to everybody, and tells each one of these stories in the most compelling way.”
Category: AUDIENCE
Big Data Shows Us The Gap Between Foodie America And Everyone Else In The Country
“In an era of celebrity chefs and recipe-kit delivery services developed by experts, a pasta dish by a Dallas dad who describes his heritage as ‘entirely Anglo-Saxon’ is quite possibly America’s most-cooked meal.”
Paying Too Much For Hamilton Tickets
“I missed Soho Repertory Theatre’s Blasted because stuff got in the way. I missed the original production of Ruined, and Meryl Streep in Mother Courage. I meant to go. I wanted to go. They were seminal events in the history of Western theatre. But life kept me busy. I can’t recall what kept me away. Just ordinary things. I didn’t make time for the ecstatic experience of being there. There are always a million reasons not to go and to save the money for something more important.”
Britain’s National Theatre Needs To Learn Flexibility From The Temporary Space It’s About To Close
“What I hope – and all the omens are very good – is that the closure of the Temporary Space will not mark the end of something, but the start of new era at the National. … It’s a mindset which understands that the theatre must be far more progressive, diverse and porous in every way if it is to become truly national. That means in the stories it tells, the way it tells them, the audiences who come and the artists making work.”
Streaming Is Going To Kill The Cinema, For Real
“What makes movies a mass art is that they are made on a mass scale for a mass audience, which is true even for work that’s largely exhibited on the festival and art-cinema circuit. What happens to that art when we begin to remove, well, people from part of the equation? What happens to its democratic promise, which may be a fantasy at best, a lie at worst, but remains nonetheless?”
Adrian Ellis: A Recipe For Vibrant Cultures In The Big City?
“Traditional audiences accessing traditional forms of culture in traditional ways are under threat throughout Europe and North America. Increasingly, people are enthused by experiencing the arts in new spaces and contexts, particularly ones where they can socialise, hang out and come and go according to their own timetable.”
Gay-Themed Bollywood Films Challenge Indian Taboos
“Bollywood has a long history of portraying gay characters with clichés or using them as an ostensibly comic sideshow. Often they are sexual predators whom the male leads, epitomes of heterosexual masculinity, must be wary of. But several recent movies have challenged those stereotypes, suggesting that attitudes in India’s movie industry, or at least within an influential section of it, may be changing.”
Utah Symphony, Once Foundering, Is On An Upswing, Thanks In Part To Government Funding (!)
The orchestra – which has a popular and energetic music director (Thierry Fischer), big education and state touring programs, and growth in both single-ticket sales and subscriptions – gets nearly a fifth of its operating revenue from state and local governments.
Melbourne Symphony Posts Both Record Attendance And Deficit
“The $577,653 deficit, detailed in its annual report, comes after the MSO ended 2014 with more than $200,000 in surplus. The orchestra actually increased its box office takings last year ($10.2 million up from $10 million) but chairman Michael Ullman said it wasn’t enough.”
Hello – Your Broadway Ticket Doesn’t Entitle You To Meet-And-Greet With The Actors
“We as fans have to learn how to rein in our “love” for these artists and realize they are human – extraordinary humans – but still humans. They get tired. They get sick. They get exhausted. And that $175 you pay for your ticket (you better not be showing out like this behind a rush ticket!) is not worth the risk of them doing permanent damage to their instrument (voice/body).”